Let’s begin with all the components. The Recording Industry breakdowns are as follows.
As a full service business the record company may have many trade names. A record company may also be referred to as a record label or in some cases a label; in any case they are easily identifiable. What’s important to know here is the label must have an artist to survive. The label will employ the professional service of many artists to record for the label on an exclusive basis. The artist is bind to that label by contract.
Simply put, the label is in the business of recording, marketing, distribution and the sale of records, that’s the absolute role of a record label, be it both major and independent labels. The fact is that a record label is an investment company. The Record companies all have these components in common; Artists of various music genre’ (categories) e.g. Blues, Rock and Jazz etc. these artists are recorded and promoted by their respective record labels, usually through airplay that is done by multiple radio stations worldwide. Radio Station is one of several components in which we’ll cover in a later chapter of this book. The record label has many departments from the executive officers clear down to the mail clerk. The department would interest you most of all is the Artist & Repertoire. This department is solely responsible for the artist needs from overseeing the artists’ promotional material, assisting the artist in securing a reputable booking agent and who also on the other hand has the information you would need to contact the artist immediate representative e.g. The Artists’ manager or booking agent.
Rather the label has its own distribution service or outsource. Wholesalers and retailers are also components because they’re the primary liaison between the label and consumers. The label’s primary source of income is the consumer. The wholesaler usually is the owner of a chain of retail stores, like you’d find in malls all across the US. Record stores like Sam Goody, F.Y.E, and Virgin Megastores etc. Now let’s talk about the radio stations, the source in which the consumer finds out the news and information about the artist and their music. The radio station is definitely a component. In actuality the radio station is in business of advertising. Since it reaches thousands of potential consumers, advertisers spend millions of dollars in promoting their brands’ goods and services. Advertisers with one goal in mind, hopefully to reach and gain new customers. In order for radio stations to meet the need of the advertisers’ goal they must always continue to build and maintain a large listening audience. Radio Stations must continue to compete within their respective marketplace, by providing the best in music selection per the stations’ music format (Genre). They also try providing the best in news, concert information, prizes, cash and free event tickets etc. These tactics are often used to keep their audience interested and loyal by all means. The most current information concerning the stations’ success or lack thereof can be easily obtained by viewing their media kit and is verifiable through arbitron reports; this agency is to radio as the Nielson is to Television (Rating System).
The Artist is the key player, for the label that employs him/her and group whichever the case may be. As you may have already come to acknowledge, the artist is the subject of your new career success. The artist will be your commodity he/she or they will be the talent in which you will purchase. When you request to employ their services for your event, you have to contract them through one of many of their booking agencies. The agencies represent them in this limited capacity. Later on I’ll tell you just how to book an artist for your event.
As a Concert Promoter you may want to promote both small and large concerts. For example nightclubs are promoted on a much smaller scale than those of venue with large seating capacities. The smaller the venue in some cases, the smaller the budget but this could have a pitfall. For example if you were to book an artist at a nightclub, that had a large entourage. It depends on where they are travelling from and their method of the travel. It could put you over your budget and wreck your profit potential. We will discuss the difference in size of the venue total cost vs. profit gain later in the Budget, Finance and profits chapter of this book.
Once you have learned and mastered this skill you’d naturally be enabled to recognize most adverse situations and become quick to adapt as well as quickly resolve them. (Protocol) Definitely you’d want to pride yourself on never having to put a band aid on a bullet wound while stopping the bleeding. In essence find a quick solution and apply it. Then learn from your mistakes, and avoid repeating them.
In this chapter we briefly pointed out some components and key players, to make sure you are aware of these components I’ll repeat them; Record labels, Artist, Radio Stations, Distributors, Retailers, Consumers, Booking Agents and of course you the Concert Promoter.
Now we will begin to discuss other important components such as Budgets, Venues, Contracts, and Riders etc. Also we’d need to visit ideas (Concepts and planning your event); the entire getting started process. Plus learn more about identifying the components within a competitive marketplace and overcome and out think your competitors. (Footnote) they are not neither your friend nor enemy but you are both here to win. All these topics will be discussed in the next few chapters. Please be mindful of these topics as they are important to you; specifically if you are new to this profession. In this chapter you should have been able to identify the key players and components especially if you read this chapter closely and did not do too much paraphrasing as this would’ve impaired your complete comprehension.
And if so you should re-read this chapter in its entirety; before proceeding on to the next chapter. Though this book was written to successfully enhance your earning potential however please be advised that the results are not typical and they may vary. If you’ve thoroughly read and understood this chapter, then you are ready to move on to chapter two, Getting Started.
It’s time to conduct a re-assessment of your current life status. Ask yourself; are you where you want to be? Do you have what it takes to succeed, such as moral support, time and motivation to learn a new skill and a need for financial growth?
Just how are you holding up financially, are you ready and can you handle a change in your life?
Well as you may agree or disagree, the fact is most people with a family and mortgage payments who earn less than $30, 000.00 per year is classed as poverty stricken. If you’re currently in this class it does not mean that you have a desire to change your status even more so you may not wish to change it by way of this method.
However be assured that this safely guarded career field is one way of securing a strong financial foundation. One of which you can enjoy spending more quality time with family and friends, with no financial hardships. Imagine having the ability to work about three months out of a year while earning a potential $250,000.00 a year. In this fast track program, we’ll teach you how to do just that and more. Here’s a secret we are offering you a full tuition reimbursement, that’s great right? But why are we calling this a secret? Well that means you obviously have purchased the program and now are reading about it in this book otherwise you may have never discovered our little secret.
First things are first; by enrolling in this program you will start earning big money in as little time as any other post secondary educational program available today. You’ll have the option of learning in a no pressure to complete program. This program allows you to work at your own pace. We offer a very comprehensive and hands on internship that is second to none. The sooner you learn is the sooner you earn, guaranteed. As a student you can work alongside the professionals while you’re in the process of completing the program. Upon completion you will be ready to make it big in the concert business.
Now you’re wondering after making the right decision of taking this course, what is next?
Getting started is next. Alright here it is, you’ll need a bowl any size will do also you’ll need two forks, a spoon, one butter knife and a long lasting writing pen and plenty of paper to take notes. Now go ahead and get started and we’ll let you know when to use every item. Don’t worry if some items are not mentioned right away. Keep them all near you as you may need them sooner than you think, or not.
For this program you’ll need a strong and creative imagination. You’ll also need some basic math skills, an above average writing reading and communication skills, a passion for success with the ability to work well with others. A tolerance for a fast paced sometimes rushed situation, the ability to work well under pressure, a strong mental state with a positively decisive and persuasive attitude. If you posses these attributes while being detail oriented when following instructions per your training. You’re a prime candidate for success. Oh, by the way you’ll definitely need this course to get started, we’re glad you are here.
(Notice) the bold text
Here in the next few chapters, we’ll point out all the components you’ll need to identify.
What are components? We’ll use this term to name each component as they are in the physical sense and what their purpose and functions are. The first component is the Record Company. This component has only two departments in which you’ll need to know about. Dept, A is the A&R dept. this department you’d need to contact for Artist representatives’ information. (Recommended), it’s the most reliable source. Dept, B is the publicity dept, they handle the artist’ press kit. The press kit is commonly used for TV, Radio and Print advertising purposes. In most cases the artist’ management can also provide a press kit to you. The next component is the Retailers this is the most reliable source in getting important information about the artist of interest, e.g. the label in which the artist is employed by and their product. As you view the artist CD you can jot down the contact info if it is visible through the wrapper. Unlike the days of the Wax 45’s and LP’s (Album); where the information would be in plain sight, today in some cases you may have to purchase the CD in order to obtain the information that you are seeking.
Another method can be used is the Radio Stations. In most cases your local radio station will provide you with the artist’ label affiliation depending on your rapport with that station’s key player PD or MD (Program Director and Music Director). Radio Stations are also an important component.
This component is sometime different from artist to artist depending on the size of the business of its owners’ client list. The Management, a firm that represents an extensive list of clients will in most cases be involved in other aspects of the artist services, such as contract negotiations, booking of personal appearances, product endorsements, and collaboration deals TV and movie appearances etc.
The Media is also one component that you’ll need to have knowledge of in terms of advertising your event. Newspapers, Radio, and TV ads would make the difference of your event being properly publicized. “Your knowledge of how to use the media is a major factor”. Knowing the media is the key to reaching the right audience for your event at the right time. Before dealing with any of the components you must first decide on the type of event and what artist will be the proposed performer. Making this determination comes by way of you having the ability to find out what artist will most likely fit the bill for your event. This is when you should turn to the media, not necessarily the radio station but the Trade Magazines. Magazines of this type are the other form of media. For example Billboard, Rolling Stone, Spin and other popular music reporting magazines will play a vital role in assisting you in your decision making process. Now let’s just say that you’ve made the decision to start a project. The key questions are; a). What type of event? b). When to have it? C) Where to have it, and d). How? The answers will determine what takes place next. By the time you complete this book the answers and course of action will come almost as easy as it was to complete this course. The Venue is nearly the last but certainly not the least of the Components. There’s one component in particular that is equally important, the Booking Agency.
Now we’ll point out the key players in each of the components, their roles and responsibilities as they relate to you as the promoter (Talent Buyer).
Key Players are people that hold or that is put in important positions within the components. They provide a specialized service to each of the other key players. As a concert promoter you are also known as a (Talent Buyer). In general you’d purchase the artist from the talent broker (Booking Agent).
You have the responsibility to always be sure that the talent broker is legitimate. If you follow proper procedure you will avoid pit falls such as sending money to an illegitimate broker. If you are unable to get the information you need from the record label, contact your local office of the American Federation of Musicians (AFM). Most Musician/Artist usually is registered with a local union. The (AFM) provides many services to Musician/Artist such as business to business contact for employment opportunities for its members. The AFM also have a Directory of both Musician/Artist and Franchised Agents contact information. If possible contact the local AFM office to obtain your personal copy.
When you make contact with the booking agency request a copy of their client roster. This way you can cross reference the listed artist with the top 40 place. We’ll explain this scenario later on. You will soon come to find that key players such as radio station account executives and book agents are both a lot like used car salesmen. They are there to pressure you into buying. It is as important to you to remain in control of the deal making process. We’ll also revisit this scenario a little later.
After you decide the type of concert (Genre), base the size of the concert on the demand of the artist. This is determined by your findings of the Artist in demand status, which can be sought through various options such as rotation (air play) record sales, chart position.
It’s time to consider the venue. Setting a date is a process and you may have to repeat a few steps. Don’t worry this is normal.
Now let’s go for a test run, to find out how much you’ve learned so far. When contacting the proposed venue you’d need to speak with the right person in order to book the venue. The General Manager is the key player. This person may deal with you him/herself or appoint someone else to assist you. Whosoever appointed will likely be your contact person for the duration.
In any case you must be prepared to ask for what you need when speaking with venue personnel. Sometimes an appointment may become necessary but not always. An in person meeting can be a smart move especially if you never done business with that venue. If they can see you in person it is likely you’ll be taken more seriously.
If a meeting is arranged you should arrive about 15 minutes prior to your scheduled time. Remember to look sharp and be ready to ask and answer questions with confidence. If you by chance obtain venue information for example capacity, cost of rental and labor even take a look at the rental application and other documents it is recommended that you study them the night before the meeting. You would want to prepare a list of questions, as this will demonstrate experience and sharpness on your part. Be sure to make a good impression the first time as you may never get a second chance. You must avoid giving the venue representative any indication that the meeting was a waste of time.
Now by this time you should have at least secured a tentative date, a (hold) on the venue, avoid booking the date until you have matched and secured a tentative date with your proposed artist. Here as you can see that you’re now somewhat of a match maker. Both the venue and the artist availability dates must match before proceeding. For the sake of purpose, let’s assume that you have both elements securely in place.
What’s the next step?
A) Take a few days off
B) Contact the ticket agency
C) Contact A Insurance Agency
D) Contact A Lawyer
E) Contact the label publicity dept
F) Contact the radio station
G) Contact a Sound and Lighting Company
Which of the following are the correct responses? (Note) there is more than one correct response.
Based on what you’ve read and if you selected answers B, C, E, F and G congratulations, those are the correct responses.
The task ahead of becoming a concert promoter is a difficult one and your mission is to complete it successfully. It requires both resilience and patience. Of course knowing when to apply these attributes at the proper time is essential. “Our goal here is to make your learning and earning experience as fun, painless and rewarding as possible”.
Though we did not mention earlier here are a few other components. First let’s begin with the ticket agencies. Briefly let’s talk about this component. The ticket agency is generally here to provide a service to you, the venue and the consumer. An agreement between you and them will authorize them to set your tickets upon their system. In most cases at your requested time and date, the tickets become available for purchase by the consumer. Most venues have an exclusive agreement with the agency that will prohibit any outside agency to act on your behalf this is most common with TICKETMASTER™ it’s America’s most notable agency. Tickets for all type of events can be purchased through their system. There are many other brokers available but chances are TICKETMASTER™ is likely the point of origin.
Second is the insurance agency. There’s one type of policy that is mostly required when doing a concert. Though all insurance agencies may not offer this policy, there are some that specialize in underwriting this type of policy. Research may be required for you to locate one, but in some cases the venue will refer one to you. This rule will not apply when promoting a night club event.
What type of policy and what is the cost? The contract issued to you by the venue will have a provision specifically outlining its insurance requirements. In this case you would send it over to your insurance agency. Depending what is required by the venue this will determine the cost. It’s only a quote unless you purchase it. “Feel free to shop around”. One other thing you should know is that the cost is always affected by the type of event and artist e.g. a Gospel Show as opposed to a Rock Show the cost would be significantly different.
Also the required dollar amount that the venue requests to be insured, typically $1,000,000.00 sometimes it’s double this amount. Cost for the policy could range from $800.00 to $2,500.00 and may vary. You should factor at least the greater amount into your overall event budget.
Before we take you any further, let’s discuss the 90 day rule. Depending on you and your experience in the concert business, if you’re fortunate enough to have credibility and are often called upon by other industry heavyweights to handle multiple tour dates for big named artist. You may rarely or ever have to consider the 90 day rule. Be assured that starting out as you are, assuming you are new or just not large enough; you should embrace and live by this rule.
Now let’s go back a couple of steps where we assumed that you have successfully matched and booked both the venue and the artist your date is set. If you have done this smart and properly, there should be at least 90 days until your event.
If you’re not familiar with the 5 P factor, allow us to enlighten you! Proper Planning Prevents Poor Performance. As you now can see that the 90 day rule will allot you amplitude to properly apply all the procedures required to maximize your success potential. Here are the procedures that you should follow leading up to the big day. First it’s time to closely review the artist rider. Wait we should explain exactly what the artist rider is…The rider is an extended part of the performance contract (engagement).
This is the agreement that you signed with the artist guaranteeing the acceptance of the engagement. There are typically two parts to the rider categorically one part of the rider is the technical rider.
The technical rider is non negotiable for the most part, meaning that the artist has the listed items to assure a performance of its highest possible standards. Here let us clarify the purpose of the technical rider. In this book we provided a copy of a technical rider for your review. Please study it and make it a practice of fulfilling it to the last letter of requirements.
Though you may be unable to negotiate the rider with the artist, you may have a small window of opportunity to save by shopping and selecting the right fulfillment company as you should have several companies bid for the job. More specifically we are talking about the sound and light equipment. Make those companies compete, giving you the option to land a quality deal for the best price.
Be advised that though they’re offering the best price, you’re only winning if the company you are hiring does not deviate from the riders list of requirements, the artist rarely allow substitutions, especially when they feel that you may run the risk of providing them with substandard equipment.
This scenario alone demonstrates a very good reason why the 90 day rule is the smartest way, because it can take some time to successfully complete this task. As soon as you sign off on the rider, you need to jump start this task... Part two of the rider is called the hospitality rider; in this rider the artist specifies his/her or their special and personal needs for accommodations. Let’s talk a little about the hospitality rider.
The hospitality rider is very detailed, it makes specific request that the promoter is obligated to grant e.g. hotel rooms’ requirements, flight arrangements, food and beverage preferences, etc. Though this rider type is somewhat negotiable, it depends on the artist’s entourage. You’d want to pay close attention to these requests because if you’re not quick on your feet to workout a simple solution this can pluck at your budget.
Entourage refers to the extra people that will be accompanying the artist. Don’t be afraid to ask if all this would be necessary. Further that your budget is set at where you’re most comfortable and you’d rather not be concerned with going over it, as they are you also are involved with the project to make a profit. Your goal is to avoid unnecessary expense. You might want to be a little accommodating if the artist is currently on tour and is travelling by tour bus. Sometimes the artist has already figured the extra people into their own budget, but you should expect to pay for all personnel hotel and meals.
If you know of someone that is detail oriented and organized, you would employ them and delegate this responsibility over to them so they will successfully fulfill the rider’s request. We sometimes refer to it as the grocery list. Though you have passed on this task to your employee, they should first conduct a price check for each item and then provide you with an estimated cost. Upon your approval, you provide the required funds, and they give you the itemized receipt after completing the task.
According to the hospitality rider you are responsible for all local ground transportation. It’s likely that the specified vehicles are not sitting in your drive-way at your residence. So you should be on the way to reserve the vehicles from the car rental place. Though you’re still within the 90 day window you don’t want to leave anything to chance, “lock em” in. Now you’re getting things done.
Now you should make a phone call to set up an appointment to meet with an account representative of the ticket agency. Here is what you need with you: The venue name and location, the date of your event, the featured artist name and the title of the event e.g. the 2008 Rock Fest if applicable. You’d need to also be prepared to make a payment to the agency for their service. The representative will gladly advise you of the cost. Lastly, excluding the required set up time for the agency to make the tickets readily available, it would be idea to have a set price of the tickets and an estimated date in which you would like for them to go on sale.
It’s now time to visit the radio station. Warning if it is your first time doing business with them, they’re going to feed you to one of their account executives who by the way works on commission and wants your money. The typical conversation will start with hello, what you’ve got, and what’s your budget? You should smile and give them that stop drop and roll look, but don’t allow them to pick up on it. You’re there to do business and hopefully gain a friend. They’ll be very resourceful in the days ahead.
After you politely return the greeting, tell them you have an event coming. Give the date, venue and artist. Careful make no immediate plans to negotiate trade outs or co-pro commitments just yet. Request a media kit and rate card. Present them with your business card, likely they’ve given you theirs.
Before you leave the first meeting, inquire if they are planning to have any events coming up around your time frame. If so, what type and how involved are they. The answer to these questions will assist you in making an informed decision on how much money you should spend with that station.
If the answer is no, then you’d want to request a second meeting with the account executive. Only this time ask if they‘d invite the promotional manager to join in the meeting. By which time you should have an idea as to what extent you would have the radio station involved, that’s when it is time to cut a deal.
Why is it important for you to know this information? Because like any other component that offers goods for sell it has inventory. Radio inventory or the lack there of, determines their income. If they’re running low on it, while hosting a station sponsored event, they would sell you the available inventory at peak prices. But place it in less peak time slots, their event will take precedence over yours. You are an important most valuable client and they appreciate your business. But you are a business and you certainly appreciate you. “Everything is ok when it’s me and you, but when it’s me or you, then I must choose me.”
What you learn here is that you are the boss and no one dictates or controls your money. Now that it is clear to you as to who’s in charge… if this station reaches your target demographics, you should still purchase ad spots but be mindful of your investment. You should consider late night, overnight and weekend spots with the support of a strong print media campaign. DJ chatter in the night clubs will also be a plus. So overall, if you have a chart topping artist you should make-out just fine.
Let’s talk about when it is the right time to advertise your event. Here is where we’re going to introduce you to the 6 week rule. Some start as late as three weeks out, some as late as two weeks out. I personally suggest that you apply the six week method. Do it in 3 stages light, medium then heavy. The most intelligent approach is to know your artist and demographic market. You should factor it into your seating capacity, your talent cost and your ticket prices. The objective here is to fill the seats. Further on this subject we will get more in to detail on the best time to start advertising your event. Timing is very important.
Take a moment and picture yourself back at the beginning when you were first inspired to promote this event. Its 90 days out what season is it now and what season will it be on the day of your event? Ask yourself should you? Check your calendar is there a major holiday within your 90 day interim? If so how will it affect consumer’s behavior and what impact will their behavior have on the success of your ticket sales?
If you take this scenario too seriously you would probably never get anywhere in this business. Fear of failure shouldn’t be factored into your career goals. However, remember to never throw caution to the wind. After you have completed this course and promote a few events, it’ll come naturally. You will simply adapt and resolve.
In this chapter we’ll discuss your presentation be it over the phone, fax, and e mail or in person.
Though key players are here for the most part to provide a service to you, it is wrong to assume that they owe you something. Rudeness will get you nowhere at all. In fact if you come off as one of those persons that have an over baring personality your phone calls may become unwelcomed. If it appears as though they are slow getting back to you, then an apology may be in order. To avoid such situations think about your approach. Even if you have not spoken with that person, but you left a voice message, it’s all in the attitude. The objective here is to be professional.
Remember key players are eager to do business with you but they are very busy people. So learn to be patient without slacking. Always wear a smile as you make that phone call for the first or one the hundredth time, avoid ever having them hear you frown. “Confidence minus ego equals confidence”.
Now let’s get to the point of actually booking the artist. Now that you have a hold on the venue, it’s time to solidify the engagement. Which of the following procedures are correct?
Submit an offer in writing to the artist
Send a deposit after offer is accepted by the artist
Sign the contract and rider
Request a copy of all signed documents
Communicate directly with the artist management
Contact travel service to book flights
Contact the hotel to make reservations
Contact the car rental company make reservations
Shop for sound and lighting companies contact 3 to 4 of them
Shop for insurance companies contact 3 to 4 of them (options)
Contact graphic designer, to design print media material and ticket agency
If you decided to select all eleven steps of procedure are correct; congratulations. Its time to take the next step, are you ready to be creative? Great because it’s time to consider concept, here ask yourself.
What is different about my event?
What can I do to add excitement to it?
What’s the name of my event? For example 1st annual Jam Mania etc.
These questions must be answered before moving on, remember time is of the essence.
You should be well in tune with your targeted audience and the market’s entertainment preferences. This task can be somewhat tricky because the radio station proclaimed listening audience doesn’t always mean that there’s a large fan base for that particular genre.’ For example they may listen to the station, but do they support that genre’ by buying CD of artists of that particular genre’? Do they enjoy attending live concerts or prefer watching them on TV? And most importantly do they have a disposable income that they are willing to part with to show their support? Here’s 3 easy ways to find out. Check it!
Contact one of the largest record retailers, ask of how well that artists’ CD has done in terms of being purchased by consumers.
Call the radio stations’ request line, ask of the artist rotation by request status how often is it played e.g. light, medium or heavy.
Visit a few of the city’s’ hottest night clubs listen to what the DJ plays and the crowd reactions to the artist music also if possible speak with the club’s DJ find out the overall vibe on this artist.
By this time you should be pretty comfortable with your decision to move forward with this artist or try another one. Research is key in this matter, just so long as you stay within the 90 day rule for whichever artist you decide upon chances are you’ve minimized your risk. Make it a professional practice to book only the talent that’s in the most demand by people of your targeted market.
As the promoter you have options. Don’t be afraid to enter into unfamiliar territory. No matter what genre you elect to work within, apply these principles and you should do well in terms of giving the people what they want, doing this is optimum. Creating a win-win situation should be in the forefront of your day to day practice.
Publicity is free…Advertising isn’t free. If you’re promoting an event that warrants free publicity, it’ll be easy to obtain, depending on the Artist and the size of the event. Most cities have a well circulated news paper that includes a society page (Entertainment/Events) section. A reporter upon being advised of your event will request a press kit from you and any label contact information in the event that the reporter may wish to interview the artist to publish it in an upcoming issue. The same applies to TV networks.
Needless to say you would want plenty of this. You may also want to make it a practice to give reporters free tickets and press passes so they may gain access to interview the artist after the performance as well as take photos of the artist backstage. In some cases you can get special permission to have a news team film part of the performance. However you shouldn’t attempt to grant any person permission to do this without first obtaining written consent from the management of the artist. Always show appreciation to the press. Set up a private press room with complimentary snacks and beverages. They may return the consideration by writing a review and print it in a future issue.
Advertising is just as important as free publicity. Frankly consumers really don’t care where they have seen or heard about the event, so long as the information they receive offers details of what, when, where and how to obtain tickets etc. Applying the 90 day rule, you will have the time required to put the marketing campaign together. Let’s count down to your event day. Using your proposed budget you must keep in mind that you have approximately 12 weeks until show time. Having knowledge of this fact, you want to spread the word as soon as possible while being mindful of the cost associated with a 12 week ad campaign.
This could devastate a budget so what should you do? Time management is the key. So grab a phone, contact a graphic artist, sit down with the designer and talk about the details of your event and how you envision it. The goal here is to get the designer to be creative and bring your event to life. Allow a week on the complete design and your approval including printing and delivery. A few dollars will get you high quality flyers that could be distributed all over the city. Though this form of advertising is budget friendly you may want to distribute them evenly over a two week period.
The internet is another budget friendly way to advertise your event via e mail blast. There are reputable internet companies that provide this type of service for a nominal fee. All you will need is a JPEG image file to send over to the company you contracted. Another way is to visit the clubs, pass out a few more flyers, and if possible persuade the DJ to mention it as often as necessary.
If you would offer the DJ some show time perks e.g. free tickets for club patrons and him free backstage passes etc, you’ll be pleased with his assistance. Now if you arrange a deal with the club management to host the concert after party, this will create more free advertising. You’ll be granted consent to distribute flyers, DJ mentions and place posters inside and outside the club clear on up to your show date. Also a word of mouth is always best, when someone else is talking about your upcoming event!
See you managed to get all this done and you are out of less than $500.00 dollars, smooth would you not agree?
Now you’ve roughly used approximately 2 weeks up and about 10 weeks remaining while keeping in mind that you have the same 10 weeks of club promotions going. You should continue to be involved with the club on weekends, also communicate with both DJ and the club management once or twice throughout each week. Meanwhile it’s time to reach back at the top of the project. (Refresh) check- in with everyone from the artist management to re-affirming your radio station appointment, make sure all logistics are in order.
Also this will be the perfect time to start working on your radio commercial e.g. writing down and practicing on what you would like for it to say. Work until it’s hotter than any other ad that is currently or may be running during your ad campaign period. This also is the time to work on a written proposal for the radio station. (One sheeted) e.g. offering them free tickets for on-air give a ways and how much money you wish to spend.
(Note) Radio Stations; will give you additional advertising plus DJ on-air mentions in exchange for the tickets with your paid schedule. Example, if you purchase $1,500.00 in ad time and trade 10 pair of tickets with a dollar value $48.00 each that being 20 x $48.00 = $960.00. In most cases equivalent in combined on-air mentions plus bonus spots though it is similar this is not referred to as Co-Pro.
By now hundreds of people already have heard about your event. Yet you’re still 10 weeks out, now what? Well you’ve put in a lot of hours in your first 3 weeks, so if possible go ahead and select and secure a sound and lighting company. Do the same for the insurance company. If you can take of these two things take a week off, but carry your laptop and cell phone with you just in case. You should keep in close contact with both the club management and DJ. You’ll want to keep them busy. Leave them with a couple of goodie bags to keep the show a hot topic.
Now you’re back and 9 weeks until show time, ok let’s do a check list…
Sound company on board
Airline tickets secured
Artist secured
Hotel and ground transportation secured
Venue secured
Club promotion on board
Ticket agency and box office set to fire when ready
One sheeted proposal ready
Radio spot is produced and ready to air
Meeting with radio station is set to place in 2 weeks
Take some more time off, you’ve done well. Visit the club and drop in a few more clubs even sports bars do a little leg work. Also do a little exploring to find out what people in the know are saying about your event. You can never know, someone may say something that inspires you to take further action to make your event a bit more exciting.
Your event is now just eight weeks a way. Try drafting a one sheeted proposal to the perspective record label of the artist. Then email or fax it over to them. Inform them of your intentions of having their artist appearing for a live concert performance and that you’re about to advertise and that you’ll be willing take the artist to a pre-show retailer for a CD autograph signing. In addition to that you’d be glad to insert that information along with the label’s tag. Typically the label will cut you a check to offset some of the advertising cost. There may be a short wait before you receive the green light. It really depends on rather or not the label has recently released a new single on that artist. Of course, if this is so then a green light will likely be given. Move on it and factor it into your profit. (Money saved is money earned).
It’s right at 71/2 weeks out what’s next? Well you’re having a meeting with the radio station’ account executive and promotional manager. You’ve got your one sheet handy, so let’s get to dealing. First off you picked up the tickets from the ticket agency to hand over to the station. Now you would like for the station to give them away over the air starting at the top of the week (beginning of the next week) pre-empt mentions of the give a ways during the upcoming weekend (To prepare their listening audience).
At this time you would purchase an ad schedule 6 weeks out so you would only advertise late nights, overnights, all day Saturday and then late Sunday for 2 weeks straight. Target days Wed-Sun but you’d to double up on the 2 week 2 twice spot plus on-air mentions (DJ Chatter) will do well while saving you money. Only 4 weeks left it’s time to turn it up. Run the ad schedule peak times 7 days a week plus late nights, overnights and weekend because now you have ticket give a ways both at the club and over the air. Meanwhile they’re on sale. Also it would be idea to distribute more flyers and issue press passes to key players.
You would want to make preparation and arrange on-air as well as off-air interviews for the artist. Also arrange a meet and greet plus other pre-show activities. By this time you should know all the flights arrival times. Now you can plan accordingly. At this point you would want to have a support staff meeting at least three times a week and go over the checklist daily. Expedite each task as needed. Then eliminate it from the “things to do list and place it on the done it list”.
By now all check points are in place and secure, you’ve delegated responsibility to all qualified support staff; the event looks to be sold out… You have a couple of early days and late nights now it’s show time.
Be prepared to work harder today, you have a big day and long night. When the lights go out and the show is over, then what? Go home get some rest, hang out with some regular friends and in about five to seven days, take a six month vacation.
The number one concern above all else is your budget. This is the money section. We’ll spend this entire chapter talking about your money. Assuming you never put on an event before but you’re ready and excited to try this industry, you can clearly see the money in the entertainment industry by just watching television or reading about the success life of major stars. Yes it’s happening. Every single moment someone is making it big. But what about you, hey why not you? You are not a performer by any means, in fact your closest friends and family tells you that you have no talent. This may very well be true, but you really had no interest in being a celebrity at all. If given the chance to have a celebrity style bank account without ever being famous, would you accept it? I thought you would, smart choice.
As a concert promoter you may go unnoticed by consumers; though they would love you, if they could. “If you were only famous” Like many of us growing up you wished for fame and fortune. Well I can’t promise you fame, but certainly if you apply the method taught here, I can say you having a fortune are highly probable.
Now let’s just say that there are two types of budgets. One is the primary and the other is the secondary. In this case we’re going to identify each of them as we will categorize them. So for this example let’s call your Income Budget –Primary and your Expense Budget –Secondary.
Now let’s define them both as we’ll explain in this lesson their purpose and how they should function. See the definition outlined below:
Income Budget is the total amount you’d normally receive during a certain time period with no liabilities attached. For example my total income after all deductions I’ll receive $100.00 that’s simple, right?
Expense Budget is the total amount that I elect to spend, unlike my income budget I can control or manage it for a better choice of word. Let’s us explain, whatever is due to me I can’t manage it unless it physically reaches me. If I still have money left over after I’ve paid all of my bills then I am living within my means.
In fairness I am compelled to mention, there are people who’d beg differ and believes they actually can control their income. There’s also an old saying (“Don’t count your chicken before the eggs hatch”)
Well to put it all in perspective unlock doors of which you only have keys to, your own…my wallet won’t fit your pocket. More on this later…
So what comes first your Income Budget or your expense Budget? Well in the scenario your Expense Budget, here’s why. Concert Promoters are investors. Quotes such as,” its takes money to make money”, is more than just a cliché’ it’s a fact.
No worry once you learn this business, the budget will be just as common as planning the entire event while including your Income Budget projections. Alright we’re going to draft a sample expense budget chart for you. Warnings if you have less than $50,000.00 of disposable capital don’t attempt this at home. We have a saying in the entertainment business “don’t quit your day job.” Adhere to it or hear this, “the phone it’s for you; it’s your spouses’ divorce lawyer.”
You don’t have to study this chart it’s only a sample in the generalist term. They vary from time to time depending on the size of your events overall expense budget. Just keep it handy to layout your own but be as detail as possible so you will stay on track.
Now this chart gives you an idea as to how much money goes into a show. It is not intended to show you how much you can get out of it in terms of profit. However be assured that there is major profit potential awaiting you. The good news is that we’re going to cover that part coming up in the next segment. Just before we do that we’re going take a short look at finance. Before we move ahead let’s go back to the chart. You may have noticed that there are about 11 or 12 tasks that are mandatory to complete. Though it‘s not seen yet so apparent that there’s much more work involved. S.F.E all tasks. Miscellaneous task makes up for what is not listed. By no means should you take the smaller task to be as less important as the larger ones doing so could cause you grave destruction.
The word finance has seven letters with just about as many definitions. Despite the many terms in which it may be used we’re going to define the meaning that matters in the overall sense. Just for the sake of discussion in order to piece this puzzle together, let’s really look at it’s meaning in the true form. Finance epitomizes all reasons that you’ve decided to take this course and start in this new career field. And your reason is money, not to lose it but to gain it and more of it. Finance is synonymous with investing, economics and funding. From giving loans to getting loans, a currency with an alias such as finance giving it the flexibility and the right to charge you interest of the principal to use it.
A budget is a projection of numbers that are written out applying the use of money that has absolute no substance without finance. You see finance is money in the physical sense, and a budget without money is a dream of what it could be if it was a reality. As I mentioned moments ago, that we’d take a short look at finance before moving on to profits….well we looked!! “Case in point”
Well we could go on about finance; in fact we could go on for several more chapters. There is only one question that concerns you about finance, is where on earth are you going to find it? To make reality a little more difficult to grasp, take for instance you have no capital. Would putting on an event be only a fantasy? Contrary to what ordinarily comes to mind and the answer is yes, still you can. We’re going to show you how to put on an event without using a dime of your own money.
Certainly you’ve heard of the term “OPM, Other Peoples’ Money. Well this method is of course one of the best ways by far, where you’d assume no personal financial risk. Readily there are only two ways this could happen. Here is how in a two case scenario listed below:
A corporate sponsored event, let’s say that you were appointed to handle the event for the corporation, after placing the winning (bid) proposal. Now you’ve got one budget and one lump sum (check). As you know that you have assumed full responsibility for the success of this event, however failure would mean never to return. Key here is to budget the funds so when it’s over all debts are settled and you did not have to request additional funds that wasn’t listed in your proposal. After accomplishing this assignment, paying all debts that includes you also getting paid, then congratulations a job well done.
Another way is working with family and friends that you may be able to persuade to invest in your event. Next to sleeping with one of their spouses’ or accepting a loan and deny ever getting it or refusing to re-pay it, there may be no faster way to make an enemy. Unless you secure a signed agreement between all parties that has zero percent ambiguity this case scenario is not recommended.
One thing is certain without education, training and experience in concert promotions both cases in scenario are highly unlikely. Let’s discuss the OPM method and how it applies to you. Let’s get started.
Now here’s a section in which I personally enjoy, I’m confident that you will enjoy it as well. Not meaning to offend anyone, Atheist or not it is what is, profit means to come out ahead. Religious practitioners would prefer that I didn’t use God in this term. Take this scenario for example; when we receive a lump sum of money or relief from a difficult state, we say “thank God, that was a blessing”. Simply meaning to have something good happen for you. Profit as opposed to loss is mostly preferred.
Let us all say “glory” and move on. There is nothing like working with a program that utilizes a step by step technique securing the financial backing needed to earn a great income. You’ll be saying these words more often than not. When you complete this program you will put on events without ever using your own money. As an Associate Promoter you’re job will be to handle all the (PCP) propose close and promote and leave the financial concerns to us. That’s great, right?
Earlier we could have covered much more about finance as there are many areas such as stock option(PP) private placements, certificate of deposits, small business loans, corporate lines of credit, bank letters of credit, collateral and signature loans. But with this program it would be of absolute no use to you or us for that matter. These types of financial options are better served for persons who are starting or expanding a business. Obtaining any loans of these types is nonexistent in particular for an Independent Promoter who is an individual Investor. I personally don’t know of any financial institutions that will loan neither individual nor business money based on their concert promotions proposal. The risk is much too great.
Profits are what this segment is about. So let’s just get to it. Once again as an Associate Promoter we teach you how to start planning your proposed events from conception to completion and pay you an annual salary of up to $250,000.00. This is your salary which is totally separate from our investments and returns. This book is very basic. It provides you with common knowledge and a practice which allows you to easily ascertain, retain and apply the most pertinent ingredients to create your own recipe for success.
We encourage you to read it more than once, memorize it and apply it to your day to day practice. Profits are one thing for certain that you’ll have because you assume no financial risk and we pay you. All you have to do is learn and earn. As you may have guessed this book is designed specifically for this program. Independent Promoters are just that on their own. Had this been a “how to” do book for all then, we would have taken a different approach.
All that train through us, will work through us but some people will come and then go out on their own and become Independent. Though this is expected, we’re confident that most will be around a least for 3 or more years. Candidly speaking a one year salary is good enough to start out on your own but taking such a risk without first having a minimum of five years under your belt is unwise. Class room, internship and on the job training is the best route to take.
In this chapter we’re going to teach you some very simple words that are commonly used in the industry. These words may appear too simple to be concerned about even for a 5th grader. But if someone of importance happens to request something by referencing the word in which it is called and you simply do not know what it is, this would probably make you look and feel pretty inexperienced.
You may have already spent a life-time in your current career, never having to know or even hear these words. In this career be informed that unequivocally these words and terminologies are used on a daily basis…. So you should come to know them and use them with confidence. Now in this section we’re going to write and keep writing until we run out of paper or words whichever come first.
As you read thoroughly through this section, please take note of the bold printed words as we have added bold to each of them while using them all in multiple sentences. While you’re reading over it try memorizing as many of them as you can. Remember our goal here is to make your learning and earning experience as fun, painless and rewarding as possible. So study them closely these words are not only your password to graduation, their also the pathway to that road of success and the key that opens and removes the gatekeeper.
NOTE: These sentences are not meant to tell a story or for that matter not even to make a certain point. Our purpose is to use these words in their most common and appropriate term.
Today is the big day and the Stage Manager, says we’re going to need an additional Rigger; no problem it’s in the budget. I just spoke with the lead Stagehand who said that he has only one concern that of the Sound Engineer who fears he may be short of one Stage Monitor. Well I have one less problem, which is each musician will be bringing their own Axe. And thank goodness that I decided to agree to have them fly their Cartridge over, now I will save a bundle by not having to rent any Backline gear.
The radio station’s Promotions Director approved the Trade-Outs for extra On-Air mentions the DJ Chatter really helped build a lot more media hype surrounding the event, I appreciate that. Sometimes I think it’s pathetic that the Account Executive has neither a backbone nor power and they’re the one who brings in the money. Don’t get me wrong, sales people are great I simply think there will be no limit to their success as far as earning potential; if the station would allow them more bargaining leverage.
Hello, just waving to the Ticket taker who looks though everything is going well. Nope!! Don’t need another Usher now where’s the Runner? I surely hope everything checks-out in the dressing rooms according to the hospitality Rider; don’t want the Road Manager giving me grief.
Hey excuse me I have to make a call, its ok if you listen in... Hello Mike, how is it going? Mr. Brown the hotel’s Director of Sales and Catering gave us an extra room? Wow! And he’ll give one extra room at no cost for every twenty rooms that we rent; that is great. I received a message from Mr. Harleton, the manager of Group Sales at Champion Airlines, apologizing for the mix-up and he’s willing to give us a free first-class upgrade. My day is going well thus far.
Hey listen, I would like for you to go ahead and stop by the AFM and pick up a copy of the latest Directory. I have to get on the phone with BMI, ASCAP and SESAC to find out the pay scale on these performance royalties that we’re required to pay them; you’d think that all the money these artists get paid for live performances would be enough! Ok …I’ll talk to you later, yes hey Susie could you get someone to run over here and bring that policy naming this Venue the Additional Insured? They’ll find it on my desk.
Alright Susie as I mentioned in yesterday’s meeting, the next event we’re going with a different Genre’; doing a little Country. Please call the Booking Agent and have him to thank them for accepting the Offer Letter and getting back to us as prompt as they did, we appreciate it. And let him know as agreed I’ll be sending over the Binder tomorrow first thing, also find out how many its going to be in her Entourage.
Thanks, Susie would you transfer me over to Carlos, Oh before you do that, there’s just one last thing… Contact the Artist & Repertoire at her Record Label and ask if they will be sending a Press Kit or should we contact Publicity direct and request that they send it over? In any case “got make it happen. Oh, Carlos, thanks for filling in over at our Street Team & Distributions Dept. You’re doing a superb job!
I need you to make a run over to the printer and our order it should be 200pcs 25 Back Stage Passes w/label of All Access and 75pcs Limited Access and 100pcs Press Passes, ok? Immediately following that task, please go over to Talent Services and Speak with the Executive Concierge; he has a nice surprise for you. Ok now I’ll just go right now and hand these Comp Tickets over to Box Office Personnel, surely they’ll place them into will call.
Now let’s take a look at the Concert Hall wow I can hear the Sound from here, listen and look at the Lights! The House Lights and the House Sound paying great compliments the our sound re-enforcement
Here’s a bonus, the artists are now arriving, preparing for Sound Check; hey, he’s the Artist DJ mixing it up live with thousands of screaming fans pulsating and watching getting into the artists and their entire performance from beginning to end.
There are two other type; Radio Station DJ (on-air personality) and of course the Club’s DJ.
All looks great, just can’t wait to get off my feet, with a sold-out crowd, the Venue should do well in Food and Beverages Sales; this crowd will definitely spend plenty on refreshments. And based on our Sliding Scale agreement and after we’re done with counting all Box Office Receipts & Settlement I will likely owe nothing more to the venue. My total Rent Cost will be waived.
Now let’s take a few moments to re-visit some of the words and provide the definition to each of them as listed below.
1)Rigger. A rigger is an electrician specialist that mostly works within the lighting industry primarily stage lights.
2)Backline. Artist that is set up as a full band unit or uses a backup band the instruments such as drum set, keyboards, bass and lead guitar amplifiers, is referred to as the Backline.
3)Cartridge. A sealed container in which houses certain heavy duty instruments/equipment enabling the equipment to travel via cargo (Plane, Train or Ship etc.)
4)Axe. Though used when referring to a musicians’ guitar other personal instruments including keyboards and even brass instruments such as trumpet, saxophones etc may also be referred to as Axe.
5)Binder. Following the acceptance of an offer letter received by the artist the promoter may make cash commitment to assure a signed contract will be forth coming.
6)Genre’. This word when used is referring or describing the type or kind of music the artist plays, performs and records.
7)Sliding scale. This term is used mostly when the venue is part of a Convention Center or is a Hotel Ballroom where the total price is designed with a negotiable window as the original rate can be less depending on the sale of food and beverage. As the venues’ food and beverage revenue reaches a certain quota the rental fee can be reduced considerably and some cases even waived entirely.
8)Entourage. This word always refers to the backup or support staff of the artist.
9)Venue. This word refers to the site, location or building in which the event is being held.
10)Road Manager. This person is employed by the management of the artist. The Road Manager usually travels with the artist oversees the entire artist’ business affairs including payroll and supervises the entire entourage.
As a Promoter you will seldom have a personal use of any of these words. However they are often mentioned to you by other industry professionals and being familiar with them are a plus as it will assist you in properly communicating with them on an individual basis.
Knowledge is key ... you’ll get it through this program. As a reminder neither this book nor this program was designed to make you an overnight success. Through hard work, dedication, knowledge and experience that you’ll get from this program it’s certainly the tool you’d need to succeed.
sponsorship is an excellent way to secure funds for your event. We’re going to show you how to successfully write winning sponsorship proposals. First as mentioned a few chapters back that a certain criteria is expected for approval consideration.
Though your goal would be implementing all points of why they would benefit from sponsoring your events, you would need to keep your proposal short and easy to understand. Try to make your proposal no more than two pages long. You would want to be mindful of the time it takes the reader to thoroughly consider your proposal. The objective here is to have the reader spend the time required to give your proposal some serious consideration. On another note the reader would have many other proposals to consider.
There are many Event Planners as there are Concert Promoters that are constantly seeking corporate sponsorships. It is important to present your proposal in a timely manner usually around 60 day before your event or 45 days before you begin advertising your event. Rule number one; never plan your event with a false sense of stability, if your event depends totally upon sponsorship support to happen. (Don’t do this ever)
Never express inside your proposal a need of their support in order to have a successful event. This will give them the wrong perception of your event. Sponsors have worked very hard and have spent billions of dollars on branding and will decline associating their brand (Logo) with an event that shows any indication of a possible failure. A denial is likely particularly if your cause isn’t worthy, is an unproven endeavor or you having no track record. (Reference of credibility)
Now we’re going to point out some of the key things that corporate sponsors look for in sponsorship proposals.
What is your event e.g. Concert, Musical, Block Party, Award Show, Talent Showcase etc.
When your event is e.g. The date Month Day Year.
Where is your event e.g. The Venue (The Location) including City and State and Capacity?
How will your event be a benefit to them, e.g. your target audience, does it meet their demographical goals? Advertising method, how much exposure will they receive by being a title sponsor associated with your event?
Why (replace this term with Purpose)
Amount of Funds you’re requesting, provide sponsorship package A B C that offers different levels of sponsorship include Price per Value. Further on we’ll discuss in detail as how it all relates to the different levels of sponsorship.
Once you’ve learned the sponsorship proposal writing technique, you would then need to know to whom and how to present it. You should ask if there are special instructions in which you are required to follow. It is very important to always be mindful of your approach, which could make or break a deal.
Be sure to follow all policies that the corporation has in place.
Most corporations have a special department that accepts all proposals for review. This department is commonly referred to as (Community Relations).
We recommend that you should first call the prospective corporate sponsors office and confirm the appropriate department in which you may present your package for approval consideration. Also while you’re on the phone with the appropriate person, try to obtain all pertinent information such as Address, Zip, name and direct phone of the contact person.
Before selecting any prospective sponsors, it is recommended that you first do some research on the corporation. It is possible that you may be wasting your time by submitting a sponsorship package to some companies because of the type of business that they are, e.g. Government Agencies such as Internal Revenue Services, Federal Emergency Management Agency or non public company such as Laboratories that conducts research for both Animal and Human Bio Studies etc. In other words companies that do not provide consumer product or services will likely have no interest in your project.
You also would never submit a sponsorship package to a public benefit non profit entity such as American Red Cross, Salvation Army. Non Profit entities are not likely or even legally allowed to be a sponsor of any events in which they have no financial control of the proceeds.
However working with a reputable non profit entity is a smart way to gain the interest of not only your ticket buying public but also getting sponsorship dollars from other businesses are highly favorable.
How to do this? Well another type of proposal would be required to present to the target non profit entity in which you will layout all the features and benefits of them being affiliated with your event and what percentage that they could expect should they lend their name to your event. While granting you permission to utilize their name in conjunction of your event, in return you will donate funds to their organization.
Getting permission to work with a non profit entity is tricky. Their policies and By-Laws are very strict. They will give your company and proposed event the once over (investigate you, credibility of good standing is paramount). Depending on your business practices and purpose for desiring to work with them will be questioned. Though they may put you through the third degree, this does not mean that the answer is no… (Be prepared to prove your worthiness and integrity).
We won’t attempt to demonstrate a sponsorship package here but we’ll try to help grasp a concept as to elements that are expected to be placed inside a proposal. As an Associate Promoter you’ll be required to present a proposal to us for each event that you wish to produce. So get real familiar with this process. Proposals must meet with corporate approval. We’ll provide you with both sponsorship and event proposal samples for you to study and practice writing them…
Writing sponsorship proposals are very important if you ever want to save money on advertising cost. However this is mostly important to independent promoters. What is important to you; is learning how to successfully write event proposals as this is part of your job.
Denied proposals means denied event budget. The fact is that all events requires a blue print, a map that starts at one point and ends at the other, by which time we should be well aware of its cost and its profit potential.
Let’s concentrate on writing and presenting your proposal to us for event budget approval. Here we will point out the key element we look for in each proposal submitted. Each of the following elements is mandatory for approval consideration.
Event overview * Name of Event/ Theme
Proposed talent * Name of Artist
Proposed venue * Name of venue
City and State *
Proposed date
Proposed cost * Talent fee * Venue Cost * Travel Cost* Transportation * Rider Cost etc.
Profit potential* Ticket price only where applicable.
These are minimum requirements. More elements will be necessary and determined on case by case basis. Experience will give you the ability to make distinctions as they may be warranted. Your goal here should be learning to master proposal writing and getting the job done.
As an associate promoter you will learn more about our ticketless event concept and you no longer have concerns of dealing with the count of tickets. You also will learn about our new product the product that makes this entire career program possible. Upon graduation and becoming an associate you’ll find out all there is to know about this product.
Continue to explore sponsorship options. In our case sponsorship will not be necessary. However we may welcome them just the same. Another form of sponsorship is in-kind. Now this form of sponsorship can be easily obtained. Just submit a proposal to the appropriate department of the targeted sponsor, a decision to grant approval for in-kind sponsorship will in most cases come swiftly. What is in-kind sponsorship?
In-kind sponsorship is when a sponsor can offer your event other assistances or products in exchange for promotional considerations that doesn’t involve a monetary commitment. This is most common when promoting a free community event.
The three top things to know about when submitting sponsorship proposals. You should always keep in mind, that you’re not the only promoter seeking sponsorship funds. Be smart and use your knowledge of the targeted company’s submission policies and be careful not to deviate.
1.Use your match making skills when selecting a prospective sponsor. Be sure that their brand will fit well with your event. This is where you must ask yourself if the demos match. For example if you are promoting a gospel event you would not ask a beer company to sponsor it, for obvious reasons. The sponsor is looking to capitalize from your event they’re looking for potential customers. It’s imperative to know your market and your sponsors (Genre and Age Demo).
2.Remember to keep your proposal short while covering key points (Overview, benefits of participation and cost associated with participating)
3.Finally, know when to submit your proposal for approval consideration. Sponsors typically require at least a 30 day window of your event. It is however best to try getting it in at 60 days of your event. This will allow enough time to obtain ad materials from the sponsor so that you may include them in your promotional campaign.
You should know that sponsorship submission periods are routinely from January –October of the corporations’ fiscal year.
Corporations have a set budget to use for marketing and advertising and in most cases will not exceed it; once it is gone… your event will not encourage them to spend more. In fact all funds that are to be allotted for marketing and advertising purposes are decided by October for the next coming year.
Until you gain some real experience in doing major events and establishes a good rapport with major corporations, you should request only in-kind support. The goal here is to create a successful track record before asking for large sponsorship dollars.
Corporate Sponsors look for (Stability, Positive Credit Rating and Quality Business Trade References). These qualifications will come in good time; meanwhile we’re going to get you on to the road to success.
In this course you will exceed your own expectations. To get you started on building your confidence, we’ve prepared a knowledge practice exam. This exercise will challenge both your knowledge and skills. It will enable you to conceptualize and execute a successful course of action.
Before you get started on the practice exam let’s take a closer look at some key players and components in the pictorial diagram below:
Record Company Artist Manager Radio Station Promoter
For the moment we’re going to talk about the roles of these key players and components at a glance. The purpose of this exercise is to help you easily identify and relate to each role.
Question: See definitions and answers to these questions on the next page, please examine and study them well.
What is the role of the Record Company?
What is the role of the Artist?
What is the role of the Manager?
What is the role of the Radio Station?
What is the role of the Promoter?
The Record Company primarily act as the employer to the artist all the while the record company is in the business of recording, manufacturing, marketing, distribution and sales of photographic recording of the artist’s works and performances. Further the record company sometimes engages itself in creating and exploiting the works and image of the artist that they employ for purpose of building and creating a demand of the artist works and appearances.
The Concert Promoter is also an employer to the artist but only on occasion when the concert promoter hires the artist for live concert engagements. All artists have the same goal in mind; to become in demand, cause without being in demand the artist has no chance of having a successful musical career. These types of artists usually are dropped by the record company. Low sales and poor marketing of that talent is the main reason.
The Manager is the key person that is responsible for over seeing the artist business and career affairs, this mostly includes shopping and securing the best possible recording contract for the artist. The Manager also may have the authority to act in the capacity of booking agent on the artist’s behalf. If this is so or not the manager will provide you with the name(s) of the appropriate person(s) or agency that represents the artist in that capacity.
The Radio Station is one of the most commonly used methods of marketing the artist by the record company. The Radio Station is in the business of selling advertising, however to ensure its advertisers that they have an audience; they must select a genre of music to play in order to gain and maintain the interest of a certain demographics. The demo being tailored by that station provides their advertisers with important information about their audience, their disposable income and their buying habits. This information found in the radio station’s media kit helps advertisers decide where to and how much of their advertising budget will be spent, if any with them. You see, like talented artist that relies on fans; so does the radio station.
The Artist role is to do as the radio station, simply entertain and keep entertaining their fans. The concert promoter would never hire an artist that can not generate ticket sales. The Artist must also continue to make great music for both the record company and their fans. The record company demands this of the artist it employs because the record company must continue to invest in that artist per the contract between the two. And off course the record company must continue to profit from it.
Similar to record companies, the concert promoter is an investor with hopes of profiting from each event he or she promotes.
KNOWLEDGE PRACTICE EXAM PART ONE
Using the words below please select the following word(s) that best describes its meaning.
Make your selection by circling the appropriate letter that corresponds to your selection.
As a concert promoter you are sometimes referred to as
A.A talent recruiter
B.A talent buyer
C.A talent broker
D.All the above
An entourage refers to
A. People that travel with the artist
B. Your Staff members
C. The Stage Manager’s crew
Which are the following is not a key player?
A.A Concert Promoter
B.Program/ music director
C.An Artist
D.The Retailer.
Which are the following is not a component?
A.The Radio Station
B.The Artist
C.The booking agency
D.All the above.
The current information concerning the radio station’s success rating, can easily be obtained by?
a.Joining their listening audience?
b.Determining the station’s music format?
c.Viewing their media kit?
d. All the above.
KNOWLEDGE PRACTICE EXAM PART ONE
Which of the following statements is true?
a.Advertising is free and publicity is not free.
b.There is no fee for advertising or publicity
c.Publicity is free and advertising is not free
d.Publicity and advertising both are equal in cost.
The general manager is the key player when
a.Locating an artist
b. Booking the venue
c.Obtaining a client’s roster.
d.All the above
After you have booked the artist and venue, how many days should it be until your event?
a.7 days
b.45 days
c.60 days
d.90 days
The type of policy that is mostly required when a promoting a concert can be obtained through?
a.A ticket agency
b.A insurance agency
c.The label legal department
d.The sound and lighting company
Using the words listed below please complete the following sentences. This is an open book assignment (Fill In the blanks). The correct answers can be found by reviewing various pages within your book.
(Community Relations ) ( Technical Rider) (Rigger) (Non-Profit) (Artist)
(Venue)(Internet) (Budget) (Cartridge) (Road Manger)
KNOWLEDGE PRACTICE EXAM PART ONE
Fill-in Blank Exam
1.Most corporations have a special department that accepts all proposals for review, commonly referred to as ________________________. (p.23)
2.The __________________________ is non-negotiable for the most part, meaning that the artist has listed items to assure a performance at highest possible standards. (p.7)
3.A ________________ is an electrician specialist that mostly works with, in the lighting industry, primarily stage lights. (p.21)
4.________________ Entities are not likely or even be legally allowed to be a sponsor, of any event in which they have no financial control of the proceeds. (p.23)
5.The __________________ is the key player from the label that employs him or her (group). (p.2)
6.___________________ refers to the site or location or building in which the event is being held. (p.21)
7.The _________________ is another budget friendly way to advertise your event via email blast. (p.12)
8.A ___________ is a projection of numbers that are written out applying the use of money. (p.17)
9.A _______________ is a sealed container, which houses heavy-duty instruments or equipments enabling the equipment to travel via cargo. (p.21)
10.The _____________________ usually travels with the artist, oversees entire artist business affairs, including payroll and supervises the entire entourage. (p. 21)
Applying all the measures of procedures required to put on an event for a 3,500 seat arena. Using your own words, please write in 100 words or less to describe the most important steps to be taken and what are the primary duties and responsibilities of the concert promoter.
If necessary you may use a separate sheet of paper. Thank you this conclude this exam and good luck.
In this chapter we will discuss these documents and what they mean to you. As you may already know these documents vary from situation to situation but two of them are always potentially legally binding. Do you know which two? First let’s define the definition to all four documents.
1)Contracts; are fully executed(signed) documents used to outline the complete understanding and agreement between a party of two or more persons, firms or corporations or any combination of the entities that connects those persons, firm or corporations specifically. The parties are required to be at least 18 years or older with a sound mind to act as a party of any agreement that is considered to be legally binding and valid.
2)Applications; an act of applying. A document used to apply for financial aid, credit, housing, and insurance, use of a venue or employment. An application is simply a form used in making a request, a petition used to present detailed information about the applicant for acceptance by the administrative personnel.
3)Proposals; an act of putting something like an idea forward for consideration. To form and put forward a plan or intentions or to initiate talks or discussion.
4)L.O.I (s) Letters of Intent (: singular just use Letter of Intent or L.O.I a letter of intent is; a written statement of intention to enter into a formal agreement; (Contract).
5)Addendum; which is not a part of this four document equation but is always made part of the artist booking agreement. This legally binding document is referred to as what? _____________
Answer is; A). Promissory note? B). Bank wire receipt? C). Itinerary? D). Rider?
If you got the answer incorrect for any reason, you should refresh by reviewing chapter 2 of this book, like right now!
You are invited to catch up to us as soon as possible. Meanwhile we’re going to be exploring and discussing contracts, applications, proposals and L.O.I (s) see you soon.
First of all each of these documents are legal as so long as neither pertains any language or intended activities that would require any party thereof to perform any act or engage in any activity that is deem to be illegal. Note: there is no such thing as a valid enforceable illegal contract.
The Proposal…is it legally binding?
Keep in mind… the purpose of the proposal is to open the lines of communications between the parties. Much like contracts, proposals are negotiable. You should always be prepared to counter as you should also be open for suggestions, as there will be some forthcoming if the proposal is worthy of a response. The objective here is to reach a median that is potentially a win….win situation.
If executed by the submitter and the recipient then the proposal is potentially legal and binding. To be enforceable it must meet some minimum requirements. The clear intent of the parties must be in writing as part of that document. And the exchange of goods or services that shall be provided or performed must be outlined as part of that document and the parties must sign under acknowledgment and acceptance and both must obtain and maintain an exact copy of the signed document.
The Contract…is it legally binding?
Complexity is the first thing that comes to mind right before you want to call your attorney, well that is to be expected. After all you did not spend years in law school and your knowledge of contracts is limited. Here’s what is mostly required for contracts to be valid and legally binding.
1.Offer
2.Consideration
3.Acceptance
Though very basic these elements must be present in any valid and legally binding contract. The Contract simply indicates that there is a fully executed legal instrument that binds the parties. But an agreement is the pudding. The meeting of the minds of the parties, beautifully illustrated into a legal document is worth the back and forward negotiation that lead you to the signing of your name; there’s no comparison.
The meeting of the minds does not apply when it comes to getting a booking contract from the artist! These contracts come standard with time, date, city, venue, live or track options and the show them the money clause, simple enough and straight to the point. All three required elements are always present.
So one does not exist without the other? (Contract and Agreement) though often considered as one in the same they literally defer in terms of meaning. Case in point you could have an agreement that is verbal but it is not a contract. However you can not have a contract without an agreement. Contract binds the parties and seals the agreement.
The Application…is it legal and binding?
Though applications are considered to be legal they are in no way binding. Neither party will be obligated to perform any services, exchange goods, services or make any monetary commitment there under.
Here is a sample proposal that you might want to use. This template will assist you as a guide when formatting your sponsorship proposal.
Level One Sponsorship
Designated sponsor of The New Artists Concert Series Tour 2006.
Banner placement on our Web Site (Rotation)
2 tickets to the event
Full-page Ad in event program (printed per this event)
Company logo on all printed marketing materials flyers/postcards UV gloss coating printed 5000 weekly.
Company logo on our weekly e-mail blasts to over 100,000 e-mail subscribers.
Please visit us online www.ultimateconcerts.com
Ten-15 seconds tag on to our radio spots on KWBT 100.3 the Beat during event regularly scheduled commercial runs.
Company logo inset on the reverse side of the Super Concert Access Card® Two Thousand units (Qty)
Company logo display inset of our graphically produced 30 second TV commercial (BET VH1 and MTV networks) weekly scheduled run times.
Minimum investment per event market is: $3000.00
Ask about our multi-market discounted rate
Your business product and services are both in great company with The Super Concert Access Card® Ask us about broadening your customer base, selling more, reducing your inventory, maximizing your product marketing dollars, and increasing your bottom line while gaining brand recognition on a global scale.
Words to live by; what have you learned so far? In this lesson you must select 25 of these words and look them up. While using Microsoft Word format (Required) define and write the definition of each word and then use the same 25 words selected to write an essay describing a mock event. (Case Scenario) Minimum word count is 1,250 to 1,450 words.
Rigger
Stagehand
Stage Manager
Road Manger
Backline
Cartridge
Axe
Sound Engineer
Stage Monitor
Promotions Director
Account Executive
Ticket taker(s)
Usher
Sales and Catering
Group Sales
AFM, AFCP
BMI, ASCAP, SESAC
Booking Agent
Artist & Repertoire
Offer Letter
Binder
Rider
Entourage
Sliding Scale
3 types of DJ’s how are they different?
House Sound & house Lights
Executive Concierge & Talent Services Manager
Runner
Street Team and Distributions
DJ chatter and On-Air mentions
Trade-Outs or On-Air Give A Ways
Media Kit
Press Kit
Press Pass
Press Release
Back Stage Pass
All Access Pass and Limited Access Pass
Comp Tickets
Box Office Personnel
Box Office Receipts & Settlement
Genre
Venue
Additional Insured
First hold
Second hold
Challenge
Will Call
Production Office
Dressing Room(s)
Sound Engineer
Bank wire
Avail (s)
LOI(s) Letter of Intent
Layout/Setup
Strike Day
Set Design
Full Length Mirror(s)
Flyers
Publicity
Limousine(s)
Walkie- Talkies
Radio Drop(s)
TV/Radio Interview(s)
Security
Per Diem
Tour Date(s)
Email Marketing
30/60 second produced spots
Sound Check
Assignment
In this chapter please review the sample artist performance and rider contracts; study and understand each of the documents. In this assignment you are required to complete the Proposed Event Cost Fact Sheet. Though the sample artist performance contracts in particular are sometimes usable, acceptable and legally binding, we however recommend that you employ the services of a reputable booking agency. In most cases you will be issued an industry standard contract, which has the minimum requirement of the American Federation of Musicians that provides protection for all parties. Before you begin please acknowledge the offer letter sample on page 38. This type of document you will use often.
Q. What is an offer letter and how is it used?
A. An offer letter is often used by all parties and mostly presented to the booking agency by the promoter and then passed on to the management of the artist for discussion and consideration.
Please study the offer letter carefully and then create your own as if you were really set out to book the artist for your event. (Note) Be advised whatever amount that is finally agreed upon, the confirmed amount will be made part of your over all budget. All offer letters aren’t readily accepted but do open the doors to negotiation. (90) Day rule applies. This is a mock situation so you must pretend that your offer is accepted…so that you can now move forward. You will be required to build your event budget starting with the cost of talent.
Please keep in mind as this book mentioned in several chapters back, that you will be granted a small window of opportunity to submit a cash deposit that will secure the date followed by an engagement contract… you must be prepared to follow through. It will be beneficial to have the venue on a first hold before actually submit the deposit. You must contact the venue and have them issue the contract immediately. You must of course be prepared to issue a cashier’s check to the venue at that point, remember both the venue and artist engagement date must match up before proceeding. Are you ready? You should be…so let’s get started.
Booking Agency Company
1777 Madison Avenue
18th Floor
New York, NY 10016
Phone: 212.555.0555 Fax: 212.555.0333
Dear Alan,
As per our conversation regarding Mario for a performance in Anchorage, Alaska, please find the following offer for your review:
Act: Mario
Date: May 29, 2008
Venue: EGAN CENTER
555 W. 5TH STREET
TICKETED EVENT
1-888 628-1115
Event 2008 Pop Fest Mini-Concert Series
Offer: $25,000 flat guarantee a 10% binder was wired as of 03/10/08
Purchaser to Provide: Flights for 6, Staging, sound, lights, backline, hotel accommodations local ground transportation, labor, & miscellaneous rider requirements, will be honored
Please call me with questions at any time.
Regards,
Napoleon S Brewer, Sr.
Executive Producer
napoleon@ultimateconcerts.com
Artist Engagement Contract
Agreement made this 1st_ DAY OF APRIL 2008 between ___ARTIST__ (herein referred to as Artist) and CONCERT PROMOTER. (Herein after referred to as Purchaser). It is mutually agreed between the parties as follows:
The Purchaser hereby engages the Artists and the Artists hereby agrees to perform the engagement hereinafter provided, upon all the terms and conditions herein set forth, including those entitled additional terms and conditions and rider(s) and agenda thereto.
1. DATE (S) OF ENGAGEMENT: May 29, XXXX
EVENT: Concert Performance
2. PLACE OF ENGAGEMENT: THE JAM Center
3. HOURS OF ENGAGEMENT: 8:00pm
4. ENGAGEMENT FEE: $16,000 + travel
ALL PAYMENTS SHALL BE PAID BY CERTIFIED CHECK, MONEY ORDER, BANK DRAFT OR CASH AS FOLLOWS:
_4,000.00 SHALL BE PAID BY PURCHASER TO AND IN THE NAME OF ARTISTS MANAGEMENT BY WEDNESDAY_, APRIL 02, 2008. THE PURCHASER AGREES TO THE RELEASE OF THE DEPOSIT TO THE ARTIST BEFORE THE CONTRACTED DATE. THE ARTIST WILL BE SOLELY LIABLE FOR THE DEPOSIT AND THE AGENT IS HEREBY RESOLVED OF ANY LIABILITY TO THE PURCHASER. THE ARTIST AGREES TO RETURN TO THE PURCHASER THE DEPOSIT WITHIN TWO (2) BUSINESS DAYS IF AT NO FAULT OF THE PURCHASER; THE ARTIST CANCELS THE CONTRACTED PERFORMANCE. DEPOSIT WILL ONLY BE RETURNED IF THE ARTIST CAN NOT MAKE THE DATE FOR SOME REASON, IF THE AIRLINES, HOTEL OR ANY 3RD PART Y IS AT FAULT, DEPOSIT WILL NOT BE RETURNED. ANY NONCOMPLIANCE WITH ARTIST RIDER OR ARTIST SPECIFICATIONS WILL RESULT IN FORFEIT OF CONTRACT AND DEPOSIT WILL NOT BE RETURNED. THIS CONTRACT WILL BECOME NULL AND VOIDED IF PURCHASER DOES NOT SEND DEPOSIT BY DATE INDICATED.
_4,000.00 SHALL BE PAID BY PURCHASER TO AND IN THE NAME OF ARTISTS MANAGEMENT NO LATER THAN THURSDAY, MAY 01, 2008.
6,000.00 _ SHALL BE PAID BY PURCHASER TO AND IN THE NAME OF ARTIST NO LATER THAN UPON ARRRIVAL IN CITY/COUNTRY OF EVENT IN CASH ONLY.
PURCHASER IS NOT AUTHORIZED TO ADVERTISE THIS ENGAGMENT UNTIL THE FOLLOWING REQUIREMENTS ARE MET:
A) 50% DEPOSIT RECEIVED BY My Enterprises Llc.
B) FULLY EXECUTED CONTRACT
TERMS AND CONDITIONS.
The parties acknowledge that MY Enterprises Llc. Is an entertainment firm for ARTIST and is not a party to this Agreement and that is assumes no liability hereunder.
MY Enterprises Llc. Shall hold any sum required to be paid by purchaser prior to the date of engagement as a deposit payable to ARTIST. In the event that the purchaser does not make the payments set forth in the agreement on or before the dates and times specified or otherwise defaults in performing its obligations under this agreement, Artist shall be entitled to retain said deposits as liquidated damages.
Any claim or dispute arising out of or relating to this agreement or the breaching thereof shall be governed by the laws of the State of ?????? and settled by arbitration in ?????.
The parties hereto agree to be bound by the award in such arbitration and judgment upon the award rendered by the arbitrator may be entered in any court having jurisdiction thereof.
ARTIST shall be exclusive to purchaser in the city and/or country specified in Terms and Conditions hereof commencing with the dates hereof and ending at the conclusion of the engagement aforementioned. ARTIST HAS THE RIGHT TO APPEAR AT AFTER PARTIES WHEN THE AFTER PARTY (S) ARE BEING ADVERTISED AS A NON PERFORMANCE (i.e. HOSTING, MEET & GREET and APPEARANCE EVENT)
NON-PERFORMANCE:
In event of sickness or of accident to ARTIST, or if a performance is prevented, rendered impossible or infeasible, by any or regulation of any public authority or bureau, act of God, civil tumult, strike, epidemic, interruption in or delay or transportation services, war conditions or emergencies, or any cause beyond the control of ARTIST or PURCHASER, it is understood and agreed that there shall be no claim for damages by either party to this contract, and ARTISTS obligation as to such performance shall be deemed waived except ARTIST shall be entitled to be paid pro-rata for any performance rendered prior to any such event.
NAME AND LIKENESS RIGHTS:
ARTIST agrees PURCHASER may use ARTISTS name, pictures, photographs and other life-likeness in connection with the advertising and publicizing of the engagement hereunder, but such use shall not be as an endorsement of any product or service.
Such rights shall extend and continue in effect only during the period beginning with the execution of this agreement and continuing during and throughout the term of this agreement.
NO ARTIST LIABILITY:
Nothing herein contained shall ever be construed to constitute the parties hereto as a partnership, or joint venture, or that ARTIST shall be liable in whole or in part for any obligation that may be incurred by PURCHASER in PURCHASERS carrying out any of the provisions hereof, or otherwise.
NO ALTERATION OF OFFER:
PURCHASER may not add to or alter the terms of this agreement (offer). Any such attempted addition or alteration shall be null and void unless expressly agreed by ARTIST in writing. See U.C.C.-207(2) (a).
REMEDIES:
Any sums to be paid by PURCHASER prior to the date of engagement shall be held by My Enterprises Llc. as a deposit payable to ARTIST. In the event that the PURCHASER does not make the payments set forth in the Agreement on or before the dates and times specified or otherwise defaults in performing its obligations under this Agreement, ARTIST shall be entitled to retain said deposits as liquidated damages.
This constitutes the sole, complete and binding agreement between the parties hereto. This agreement may not be changed, modified or altered excerpt by any instrument signed by the parties. This Agreement cannot be assigned or transferred without the written consent of the ARTIST. Nothing in this Agreement shall require the commission of any act contrary to law or to rule or regulation of any union, guild or similar body having jurisdiction over the performance hereunder or any element thereof and wherever there is any conflict between any provisions of this Agreement and such law, rule or regulation, shall prevail and this Agreement shall be curtailed, modified, or limited only to the extent necessary to eliminate such conflict.
AUTHORITY OF SIGNATORY:
This person executing this Agreement on PURCHASERS behalf warrants his authority to do so, and such person hereby personally assumes liability for the payment of said price in full.
CHOICE OF LAW/ARBITRATION:
This Agreement shall be construed in accordance with the laws of the State of ??????. Any claim or dispute arising out of or relating to this Agreement or the breach thereof shall be settled by arbitration with the rules and regulations of the American Arbitration Association. The parties hereto agree to be bound by the award in such arbitration and judgment upon the award rendered by the arbitrators may be entered in any court having jurisdiction thereof. Furthermore, the parties agree that this agreement is solely between the purchaser and the artist. Consequently, the purchaser and the artist each agree not to sue My Enterprises Llc., its employees, owners, and affiliates, as a result of any lawsuits, disputes, claims, or other legal actions that mat arise form this agreement. RIDER: The Rider attached hereto is a part of this contract. If there are any inconsistencies between the Agreement and the Rider, the terms of this Rider shall control.
THE SIGNATURES BELOW CONFIRM THAT THE PARTIES HAVE READ AND APPROVED EACH PROVISION SET FORTH AND RIDER (S) THERETO: RIDER IS NOT INCLUDED IN THIS SAMPLE
WITH THIS GUIDE YOU CAN LEARN TO MAKE IT HAPPEN…STAY FOCUS AND FOLLOW LETS DO IT! BECOME A PROMOTER TO GAIN ACCESS AND ENJOY THE MEGA CASHFLOW IN THE CONCERT BUSINESS.
Booking Contract / Rider
Agreement made between ABC ARTIST Booking Co. and (herein after referred to as “PURCHASER”)
Whose address is PURCHASER ADDRESS
Terms and conditions
Venue Name(s): VENUE NAME
Venue Address(s): VENUE ADDRESS
Date(s) of event(s): DATE OF EVENT
Time: TIME AND DURATION
Full Price agreed: $4,000
PURCHASER must not advertise until full deposit is received and contract is signed by BOTH parities or the show will be cancelled.
$2,000 deposit will be paid by PURCHASER by bank wire no later than DEPOSIT DUE DATE (see bank account information below)
$2,000 balance will be paid by PURCHASER to talent, London Charles, in cash no later than hotel check-in.
Booking Details
Promotion
No endorsement of or association with any products, brands, companies, personalities, etc may be implied without prior approval from the talent manager. Should Purchaser begin advertising prior to contract approval, “artist” and “artist” manager have the right to CANCELTHE APPEARANCE.
Please contact the talent manager for promotional photos (web or high res) needed to produce flyers/promotional materials for the event
Purchaser must use “artist” single, “Music”, in all audio promotions and play it when introducing her at event
All promo materials must bill TALENT as “Artist Stage name” or “AKA” and include a prominent reference label affiliation
TALENT reserves the right to sell merchandise (autographed photos, calendars, etc.) at the event
Travel
Please note: Due to a frequently changing travel schedule, all airfares purchased must be DIRECT FLIGHTS and purchased through Phenomenon Productions’ travel agent. (Contact info along with itinerary ID available upon receipt of deposit)
PURCHASER agrees to provide at PURCHASER’S sole cost and expense:
EVENT CITY, STATE
2 Round Trip Pre-paid airfares:
[First Class] Passenger 1: Mary Denton (talent legal name)
[Coach Fare] Passenger 2: ROAD MANAGER (road manager)
Arrival date ARRIVAL DATE , departure date DEPARTURE DATE
PURCHASER agrees to provide at PURCHASER’S sole cost and expense, ground transportation for TALENT, including but not limited to, round-trip transportation between:
Airport and hotel
Hotel and radio station (or other press locations arranged by the PURCHASER)
Hotel and venue
NOTE: On the day of the event, a car with driver must be at her disposal continuously approx 1 hour prior to event and 2 hours after.
Accommodations
PURCHASER agrees to provide at PURCHASER’S sole cost and expense, the following accommodations:
Reservations at a clean, safe, and respectable hotel (at least 3 stars, check with us if you are unsure.)
2 hotel rooms (one suite and one single room)
A 6 pack case of Evian water (glass or plastic bottles are fine)
Plastic or paper cups and clean drinking ice (what the hotel provides is usually just fine)
A medium sized tray of seasonal fruits and a medium sized veggie tray
The Event
Mary enjoys a good party and is looking forward to hanging out with your patrons. As long as the event is safe and secure, a good time will be had by all! Mary’s security will verify safety and accommodations in the club prior to entering the venue.
TALENT will fulfill the following duties during the duration of the actual event:
Arrive at the venue no later than START TIMEon the night of the event
Remain inside the venue until END TIME unless extreme concerns of safety or crowd control require her to leave earlier (at the discretion of TALENT the night of the event)
Through the duration of the event, act as an “MC”
Take promotional photos with the key promoters and important local figures
Take photos with fans provided that the promoter arranges for this in a safe, organized, and controlled fashion. (at the discretion of TALENT the night of the event)
PURCHASER agrees to provide at the PURCHASER’S sole cost and expense:
VIP or similar accommodations at the venue (private or semi-secluded comfortable seating area for London and her chaperone that is not easily accessible by patrons)
Several cans of Red Bull served in champagne glasses. Water and soft drinks served in glasses.
Media and Press
Mary agrees to do one radio drop or live radio interview by phone per event.
Additional and in-person media will be done at management’s discretion.
Phone interviews must be scheduled 7 days in advance.
In-person interviews must be schedule 14 days in advance.
Security
TALENT will travel with one road manager for the duration of her trip. It is expected that PURCHASER will provide adequate additional security at the venue for purposes of crowd control.
Bank Wire Information
Account Info
Bank Info
Address on File
Bank: Banc One
Name: ABC Artist Booking Co
Acct #: 3700069834
Routing: 241070417
Banc One
24624 W. 10 Mile Road
Southfield, USA 08033
248-555-9030
www.bancone.com
ABC Artist Booking Co.
301 Fairway
Southfield, USA 08034
Cancellation Policy
100% refund - In the event that the AGENT or TALENT cancels the event at anytime
90% refund - In the event that PURCHASER or PROMOTER cancels the event 4 weeks or more prior to the event
50% refund - In the event that PURCHASER or PROMOTER cancels the event 2-4 weeks prior to the event
No refund - In the event that PURCHASER or PROMOTER cancels the event within 2 weeks of the event
Signatures
The signatures below confirm that all parties have read and approved each provision set forth above.
____________________________ __________________________
PURCHASER SIGNATURE PURCHASER PHONE & FAX
____________________________ ____________________________
MANAGEMENT’S SIGNATURE MANAGMENT PHONE & FAX
Keyshia Cole
Performance BAND Rider 2008
as of may 18, 2008
The following provision shall be deemed incorporated in and part of the agreement to which this rider is annexed.
Reproduction of Performance
No portion of the performance may be broadcast, recorded, filmed, taped, or embodied in any form for any purpose of reproducing performance without the Artist written consent. Purchaser will deny entrance to any persons carrying audio or video recording devices without limiting in any way the generality of the forgoing prohibition; it is understood to include members of the audience, press, and Purchaser’s staff.
In the event the Purchaser, his agents, servants, employees, contractors, etc... Reproduce or cause to be reproduced the Artist's performance in the form of Film, Tapes or any other means of audio or Video reproductions, upon demand by Artist, Purchaser shall deliver all of the same (Together and with all Masters, negatives, and other means of Reproductions thereof) to Artist.
Complimentary Tickets
Purchaser must provide Artist Representation with:
(30) Thirty complimentary tickets per performance within the first 40 rows in venue with seating capacity of 5000.
(20) Twenty All Access Passes
(25) Twenty-Five After Show Passes
The unused portion may be placed on sale on day of performance with Artist consent.
If place of performance is other than arena, theater or club one table or booth seating 8 must be provided and marked as reserved for each performance.
Settlement
Purchaser agrees to provide a full detailed accurate accounting of all box office receipts, show costs, and any other expenses related to artists Settlement on demand.
Purchaser agrees to provide proof of said expenses through invoices, cancelled check, wire receipt, or other certified receipt.
Purchaser agrees to provide proof of box office receipts through computerized audit of venues ticketing system (i.e. Ticketmaster).
Purchaser agrees to settle 1/2 hr. after box office closing.
Purchaser agrees to provide cash, wire transfer, or certified check as directed by the Artist(s) Management / Agent / Representatives.
Merchandising
The Purchaser must provide a well-lit secure place to erect a merchandising stall. In an area and position easily visible to public using main entrance or main lobby.
Artist has exclusive rights to sell program books, photograph booth, photos, and records including but not limited to T-shirts, hats, stickers, and posters.
Performers & Performances
Artist Management MUST approves all opening acts.
**TRAVEL NOTE**
ALL HOTEL, AIR AND GROUND TRAVEL RESERVATION AND CONFIRMATION INFORMATION MUST BE PROVIDED ONE (1) WEEK PRIOR TO THE ENGAGEMENT.
Airline Tickets
All airline tickets must be UNRESTICTED and FULLY CHANGEABLE. ALL TICKETS MUST BE Full Fair Tickets ONLY. NO discounted or internet tickets. Those tickets are restricted and can not be changed.
NO GROUP Bookings.
Airline Ticket BUYOUT
Call management for airline ticket buyout.
Transportation
Purchaser agrees to provide Artist Transportation from airport to hotel upon arrival, between hotel and venue prior to and upon completion of sound check and performance.
Transportation is to consist of : Licensed Limo Company and drivers ONLY
(1) One newer model LARGE size dark colored SUV
(1) One 24 passenger limo bus and (1) Cargo Van
OR (2) Two 15-passenger vans and (1) One Cargo van for crew & band, and
Purchaser agrees to pay Seven Thousand Five Hundred US dollar $7500.00 buy out in event Artist is traveling to said performance by coach.
Purchaser will then be responsible for Artist Transportation from hotel to venue prior to and upon completion of sound check and performance for Artist, band and crew as described above.
Purchaser must agree to a Twelve Hundred US dollar $1,200.00 buy out in event above cannot be provided.
Lodging
Keyshia Cole’s hotel shall have a rating of at least five stars and have the following amenities: 24 hour room service, gym (equipped with a universal machine or free weights), restaurants, be near the performance venue, and Tour Bus Parking (two).
Rooming List - More Details Forthcoming
(2) Suites and (28) king size bedrooms
1. Keyshia Cole
2. Manny Halley - Manager
3. Terrell Tate - KC's Security
4. Reginald - Make up Artist
5. TBA - Hair Stylist
6. T'hia - Background Vocalist
7. Angel - Background Vocalist
8. Kenny – Bass (Smoking Rm.)
9. Steve – Guitar (Smoking Rm.)
10. Daniel – Music Director/Keys (Smoking Rm.)
11. Erik – Drummer (Smoking Rm.)
12. Adrian – Male Dancer
13. John – Male Dancer
14. Helen – Female Dancer
15. Tinile – Female Dancer
16. William Brown – Tour and Production Manager
17. Denise – Tour/Production Assistant
18. Chainani – Production Manager/Stage Tech
19. Richard Baker – Stage Manager
20. James Roach – Front of the House
21. Tyrone Long – Lighting Designer
22. Houston – Monitor Mixer
23. Isaac - Carpenter
24. Kenny - Loss Prevention
25. Daniel – Tour/Production Assistant #2
26. N Brown - Wardrobe Warden
27. “Dee” – Transportation Caption
29. Irvin – Prop Crew
30. Rob – Prop Crew
Security
Promoter/Venue shall provide adequate security for venue, artist, artist equipment, artist entourage, and backstage area.
Security Company and Personnel shall be trained, licensed, and bonded professionals.
Backstage area shall be keep clear at all times; free from any persons other then whom Artist Representative have authorized
Promoter agrees to supply adequate security for backstage to arrive no later than one (1) hour prior to house opening on the day of engagement, and to be placed under the sole direction of Artist’s representative.
Artist and Artist’s management retain the right to increase security, at the sole cost of the promoter if the situation merits.
**DRESSING ROOM NOTE**
Dressing rooms must be set and prepared 1 hour prior to artist’s scheduled performance. Dressing roomS must be secure, clean, well lit, heated and air-conditioned. (Any changes or substitutions are to be made with artist’S tour manager.)
mandatory
three (3) dressing rooms and one (1) production office
Dressing Room for Keyshia Cole
Furnishings MUST BE CLEAN!
Sofa
Coffee Table
Two (2) End Tables
Area Rug NO MORE than 20x20 NO less than 20x15
Vanity Mirror (with lights)
Make up chair
Full length mirror
Pipe and Drape – if lockers are exposed
(3) Three Power Drops with Quad Boxes or Power Strips
(Rental furniture is preferred)
Food/Drinks
Twelve (12) 9 oz Bottled of Penta Water (room temperature) can be found at Whole Foods stores.
One (1) bottle of Perrier-Jouet champagne (Blanc de Blanc Vintage Wine)
One (1) bottle of Patron liquor
One (1) bottle of Hennessy VSOP
One (1) bottle of Remy XO
One (1) case of an assortment of Juices
Eight (8) cans of Red Bull (4 room temperature, 4 iced)
Hot Tea setup with honey and lemon. Bigelow Brand Vanilla Flavored Tea and assorted flavors of tea bags including Green Tea, Peppermint Tea.
Throat Coat Tea (can be found at Whole Foods)
Oregano drops (can be found at Vitamin Shoppe)
Oregano Juice (can be found at Vitamin Shoppe)
Take out containers and plastic bags
One (1) large fruit platter.
Grilled Chicken Caesar Salad with “Newman’s Own” Caesar Dressing on the side
One (1) large Alaskan Crab Leg platter with drawn butter
One (1) Platter of Baked Chicken
Dressing Room for Keyshia Cole Food/Drinks cont’d
One (1) container of Hot Vegetables
Pepperidge Farm Goldfish (Cheddar)
One (1) pack of Lemon Halls
Amenities
A total of four (4) white bath sized towels and four (4) face sized towels for Artist (Must be clean NO OLD TOWELS).
A total of two (2) black face-sized towels for Artist (Must be clean NO OLD TOWELS.)
A total of two (2) black hand-sized towels for Artist (Must be clean NO OLD TOWELS.)
A new tube of toothpaste and a toothbrush.
A container of hair bobby pins.
A container of safety pins
A roll of double sided sticky tape
A travel size woman’s deodorant.
Women’s Dressing Room
One (1) Clean Dressing Room large enough for 5+ people with a lockable door, mirror, clothes rack and sufficient lighting, full length mirror, iron, and ironing board. Bathroom must have a clean working shower, toilet paper, and hand soap, (3) Dove (white) bath soap and at least (12) white bath towels, (6) white washcloths.
(3) Three Power Drops with Quad Boxes or Power Strips
One (1) bottle of Belvedere
Twelve (12) pack of Heineken
Eight (8) 32 oz bottled drinking water at room temperature
Three (3) large bottles of assorted juices (cranberry, orange, apple, etc)
Please supply one small tub of clean ice and cups for drinks.
Hot Tea setup with lemon wedges, sugar and honey. Please include teacups, saucers, spoons and napkins
Take out containers and plastic bags
One (1) Large fruit and cheese platter
One (1) Deli tray with turkey breast meat or baked or grilled chicken breast, veggies, whole wheat bread or rolls, lettuce, tomatoes, pasta, yellow mustard and other condiments, plates, forks, spooks, knives, and napkins (enough for four (4) people)
Grilled Chicken Caesar Salad
Men’s Dressing Room
One (1) Clean Dressing Room large enough for 15+ people with a lockable door, mirror, clothes rack and sufficient lighting, full length mirror, iron, and ironing board. Bathroom must have a clean working shower, toilet paper, and hand soap, (5) Dove (white) bath soap and at least (12) white bath towels, (12) white washcloths.
(3) Three Power Drops with Quad Boxes or Power Strips
One (1) bottle of Hennessy
One (1) bottle of Patron
Twenty-Four (24) 20oz bottled drinking water, at least ten (10) at room temperature
Eight (8) large bottles of assorted juices (cranberry, orange, apple, etc)
Assortment of Candy: Jolly Ranchers, Starburst and M&Ms
Twelve (12) Heineken Twelve (12) Corona
Men’s Dressing Room Continued
One (1) Case Assorted chilled sodas: Coke, Diet Coke, six (6) Diet Sprite, Dr. Pepper, and Orange & Ginger Ale.
Please supply one small tub of clean ice and cups for drinks.
Hot Tea setup with lemon wedges, sugar and honey (please include teacups, saucers, spoons and napkins)
Coffee with non-dairy creamer and sugar
Take out containers and plastic bags
Twenty-one (21) piece of Fried Chicken and Rolls
Two (2) Large fruit and cheese platter
Two (2) Deli tray with turkey breast meat or baked or grilled chicken breast, veggies, whole wheat bread or rolls, lettuce, tomatoes, pasta, yellow mustard and other condiments, plates, forks, spooks, knives, and napkins (enough for fifteen (15) people)
Production Office
Two (2) six foot tables. Six (6) sturdy chairs. Access to wireless internet or router. One or Two phone lines. At least Two (2) to Four (4) electrical outlets or two (2) to four (4) power drops.
Cooler with one (1) case of spring water cold and one (1) case of spring water room temperature.
One (1) quart of cranberry juice and One (1) quart of orange juice.
Twelve (12) pack of each: diet coke or Pepsi, diet sprite, coke or Pepsi and ginger ale.
Take out containers and plastic bags
Two (2) large fruit and cheese platter
Two (2) Deli trays with turkey breast meat or baked or grilled chicken breast, NO PORK veggies, whole wheat
bread or rolls, lettuce, tomatoes, pasta, yellow mustard and other condiments, plates, forks, spoons,
Knives, and napkins (enough for fifteen (10) people)
One (1) pound pack of red liquorish
Catering
Meals shall be provided and catered for the local crew, production staff, musicians, artist, and artist management.
Dinner for Twenty-five (25) people; Menu must be approved by artist management
Lunch provided (quantity to be determined); Menu must be approved by artist management
Breakfast provided for load-in crew & production staff (quantity to be determined); Menu must be approved by artist management
Catering Buyout
The cost for buyout is forty dollars ($40.00 US) per person. For a total of one thousand ($1,000.00 US)
After Show / Bus Food
On dates when travel to the engagement is arranged via Tour Bus, Promoter shall supply said Tour Buses with after show-bus food:
Four (4) twenty pound bags of ice placed in ice bins
Delivery/Take out food for Twenty (20) people; menus chosen by Tour Mgr. Or Artist Representative
Four (4) assorted 6 packs of beer (i.e. Heineken, Corona, Bud Light)
Thirty-Six (36) 20oz bottles of assorted bottled water, soda, and juice
**TECHNICAL REQUIREMENTS NOTE”
Direct Technical Questions TO BILL BROWN at 267-555-7100
Labor Requirements
Purchaser agrees to provide adequate stagehands & loaders to assist in the following
1) Load in 2) Set change 3) Load Out
Stage Requirements
40’ wide x 40’ deep x 35’ high (minimum). Stage air conditioning must be turned off 20 minutes before Keyshia Cole’s arrival for sound check and performance. Promoter agrees to provide the following items for the stage show to be available at sound check:
Two (2) 8x8x2 Risers
Rug for drum kit
One (1) case of 9oz bottles drinking water
Twelve (12) White hand towels (NO OLD OR USED TOWELS)
Twelve (12) Black hand towels (NO OLD OR USED TOWELS)
****Stage Must Be Made Available For Sound Check 2 Hrs Prior to Doors****
FOH Requirements
Entire system must be clean & free of undesirable noise. Separate console, mics, stands and processing must be provided for any opening act(s)
FOH Console:
Minimum 48 Channels
Midas XL4, Heritage 3000, Yamaha PM4000, Sound Craft Series 5 or MH4
Unacceptable: Allen-Heath, DDA. Yamaha M3000,
Parametric EQ, High pass filters, Phase reverse, Scene mutes, Insert points, + 48 Phantom power
(6) Aux sends, VCA groups, PFL, LR mix & matrix monitoring.
Console Position:
Must be FOH orchestra level center no more than 75’ -100’ from stage.
Rear of room, under balcony or sound booth unacceptable.
FOH Rack:
(2) Professional 1/3 Octave, 31 Band, 12db cut/boost EQís
BSS FCS 960, Klark Teknik DN 36 0
(4) Digital Reverbs (Lexicon PCM 91, Yamaha 990)
(2) Digital Delay w/tap (D-2, Lexicon PCM 81, Roland SD 3000)
(2) Quad Gates (BSS DPR 504, DBX 1074)
(2) Dual Compressors/Limiters/gate (DBX1066, BSS DPR944)
(2) Compressor/Limiters (DBX 160 SL Blue)
CD Player / (1) CD Burner Recorder
PA Stacks:
Must consist of 4 way stereo arrays. Must be obstructed by audience architecture etc, able to cover audience area w/direct sound dispersement.
Clair Bros, JBL, Nexo, Meyer, Turbo Sound, EAW, V-Dosc
Front loaded 18” sub woofers.
Aligned & summed, in phase w/linear “flat” freq. response from 30 Hz to 18 kHz.
Amplification: There must be enough pro amplification to maintain a clean, undistorted 106db stereo program level (112db peak SPL) monitored at FOH position. Mounted in fan cooled racks (Crown, QSC)
Snake: 48 channel inputs, 48 channel transformer isolated splits, 10 Aux return lines
Power Distribution: 110 Amp, 120 Volts, 3 Phase, 5-wire ground system. Disconnect and distribution for (9) 20-amp quad boxes for band gear.
Monitor Requirements
If there are any substitutions or questions, please contact monitor engineer- Jim Monitor Console:
Digidesign Venue D-Show (configured w/ at least 48 inputs & 24 outputs)
Yamaha PM1D (configured w/ at least 48 inputs & 24 outputs) MUST HAVE INDEPENDENT STAGE RACK, NO sharing with FOH
Midas Heritage 3000/4000, XL4
(1) Midas XL42 2 Ch. Mic pre (needed unless using one of the specified Midas consoles)
Processing & EQ (needed only if using analog console):
(8) 31 Band graphic EQ’s inserted on each wedge mix (BSS FCS 960, Klark-Technique DN360).
Unacceptable EQ’s: Alesis, Rane, Peavey, DOD.
(2) Lexicon PCM 70/80/81/90/91, M300 or T.C. Electronic M3000/5000
(8) Compressors (Drawmer, BSS, KT, DBX)
(6) Gates (Drawmer, BSS)
Amplification & Crossovers:
Each mix must have enough Amp power capable of producing 110db program SPL at 1 meter.
Must be mounted in a fan cooled rack w/professional input & output connectors.
Capable of powering (8) separate bi-amp mixes.
Monitors:
(8) Bi-amp wedges (w/ 15” & 2” drivers preferred) Clair Bros, L-Acoustics, Meyer, EAW, Nexo, D & B
(2) Three-way side fills, (2) Side fill subs
(1) Drum Sub
(3) Shure P6HW Hard wired in ear monitor mix for Keyboardist, Drummer and spare
(7) Sennheiser IEM300 G2 or 3000 series wireless ear monitor systems w/ antenna combiner and remote antenna (PWS helical antenna preferred)
1-Keyshia (must have 2 belt packs)
2-Background singer 1
3-Background singer 2
4-Guitar player
5-Bass player
6-Spare system
7-Cue
Microphones: See input list
Direct Boxes: See input list
Lighting Requirements (See attached stage plot for configuration)
Instruments:
(10) Sections of dbl hung truss (Various lamp sizes)
(14) MAC 2000 (Or compatible spot unit)
(7) Source 4 Ellipsoids 26∞
(2) ACL units
(8) MAC Atomic strobe units
Console: Whole Hog 2 w/ (2) Monitors, Keyboard & Trackball
Spots & Operators:
(2) Highly experienced Spot Op’s to be under LD direction entire length of performance beginning 1 hr. prior to scheduled performance time.
Effects:
(2) DF-50 Hazers w/ direction fans.
Console Placement: FOH on orchestra level at or near Audio placement.
Input
Instr.
Mic’s
Process
Sub-Snake
We Also Need:
1.
Kick
Sm-91
Comp./Gate
16-Direct Boxes
2.
Kick
Sm-52/D-6
Comp./Gate
4-in-ear wireless packs
3.
Snare-Top
Sm-57
Comp./Gate
4-Wireless Mics
4.
Snare-Bottom
Sm-57
Comp./Gate
3-in-ear WIRED packs -BAND
5.
Hi-Hat
Sm-81/km-84
9-Gates
6.
Oh-L
Sm-81/452
8-Comps.
7.
Oh-R
Sm-81/452
14-Wedges
8.
Ride
KM-184/SM-81
9.
R-1
Sm-98/604
Gate
1 Drum SUB
10.
R-2
Sm-98/604
Gate
11.
Floor-1
Sm-98/604
Gate
12.
Floor-2
Sm-98/604
Gate
13.
Drum PAD-L
Direct
14.
Drum PAD-R
Direct
15.
Bass
Direct
Comp.
16.
Key Bass
Direct
Comp.
17.
E. Guitar-L
609/sm-57
Comp.
18.
E. Guitar-R
609/sm-57
Comp.
19.
Keys Mackie-L
Direct
20.
Keys Mackie-R
Direct
21.
2480-1
Direct
22.
2480-2
Direct
23.
2480-3
Direct
24.
2480-4
Direct
25.
2480-5
Direct
26.
2480-6
Direct
27.
2480-7 Click
Direct
Monitor’s only
28.
Keyshia Vox
KSM-9 R.F.
Tube Comp.
In-Ears
29.
Keyshia Spare Vox
KSM-9 R.F.
Tube Comp.
In-Ears
In-Ear spare
30.
BGV 1 Vox
Sm –58 R.F.
Comp.
In-Ears
31.
BGV 2 Vox
Sm –58 R.F.
Comp.
In-Ears
32.
Ambient Mic – SL (monitors)
KM-184/SM-81
33.
Ambient Mic – SR (monitors)
KM-184/SM-81
34.
35.
36.
37.
38.
39.
40.
***We also will need: 16-Direct Boxes, 4-in-ear wireless packs, 4-Wireless Mics, 3-in-ear WIRED packs for BAND, 14-Wedges, 1 Drum SUB, 9-Gates, 8-Comps…
This is a complex stage set up that is typically used for a live performance taking place inside a major arena. When an artist performs via track the cost is reduced considerably.
Backline Requirements
Drums - Erik Tribbett: Endorsed by DDrums, Sabian. Erik will bring his own
cymbals.
(1) DDrums kit:
8" tom, 10" tom, 14" floor tom on legs, 16" floor tom on legs, 20" kick
drum, (2) 13" ddrum snares
*Please prep kit with Remo emperor heads-clear on toms, and Remo coated
emperor on snares.
All Gibralter or DW hardware:
(2) Snare stands
(7) Cymbal stands
(1) Hi Hat stand
(1) Kick Pedal
(1) SPD-S w/ mounting bracket/stand
(1) Roland V-Drum TD-20 Module w/ stand (1) DDrums snare Trigger and (1)
DDrum kick trigger
(1) Mackie 1202 Mixer
(1) Tama 1st chair
Keys - Daniel Jones:
(1) Roland Fantom X7
(1) Triton Pro w/ sustain pedal
(1) Yamaha Motif ES 8 w/ sustain pedal and midi cable
(1) Roland JV2080 Rack w/ boss FV-300 vol pedal
(1) Mackie 1202 Mixer
(1) 2 Tier keyboard stand
(1) 1 Tier keyboard stand
Guitar - Steve Wyreman: Endorsed by Mesa Boogie
(2) Mesa Boogie Lone Star Amps 2x12 combo
-2nd choice is: (2) '65 Fender Twin Reverb 2x12 combo amps
(2) Guitar Stands
Bass - Kenny Wright: Endorsed by GK, Moog
(1) Gallien Krueger 2001RB Amp Head
(1) Gallien Krueger Neo 4x12 Cab
(1) Gallien Krueger RBH 1x15 Cab
(1) Moog Voyager w/ Boss FV-300 vol pedal
(1) 1 Tier keyboard stand
(1) Whirlwind A/B Selector switchbox
(1) Boss Chromatic TU-2 Tuner Pedal
(1) Boss Octaver Pedal
(1) Guitar stand
LIGHTING SPECIFICATIONS FOR KEYSHIA COLES
LIGHTING DESIGNER:
TYRONE R. LONG (GIADMIRAL****)
THIS DESIGN IS ON TWO 40 FOOT TURSS
(SEE INFORMATION BELOW)
MOVING LIGHT INFORMATION:
17- MAC 2K UNITS (8) FOR ALL CLUB DATES
5- ON THE UP-STAGE TRUSS
5-ON THE DOWN STAGE TRUSS
7-UNIT’S ON THE FLOOR 2-MID STAGE RIGHT AND LEFT 3-UP STAGE
FOR CLUB DATES 4-UP STAGE 2-DOWN STAGE 2-ON THE FLOOR
LEFT TO RIGHT (see lighting plot for placement)
4-V/NARROW FLOOR PARS (DRUMS SPECIALS)
LIGHTING PLACEMENT UP STAGE
7-6K WASHES (NOTE ALL UNIT’S ARE V-NARROW PAR-64)
GEL: R-27, R-83, R-49, R-59, R-93, R-21
5-SET’S 250 or 600 W ACL Unit’s (see plot for placement)
LIGHTING PLACEMENT FOR DOWN STAGE:
6-6-K WASHES (ALL Unit’s ARE MEDIUM PAR 64)
GEL: INF. R-26 R-80 R-21 R-49 R-59or LEE 181 R-44
9-SORCE FOUR LEKO’S (ALL UNIT’S 6x9)
(SEE PLOT FOR PLACEMENT)
5-5K STROBES LIGHTS
16-STAR STROBE UNIT’S
SOFT GOODS:
1-WHITE CYC
2-25x20 FT. PANELS HIGH REIZ FIBER OPTIC CURTIAN
2-SPOT LIGHTS COLORS 1.R-34 2.R-44 3.R-21 4.R-67 (NOTE: XENON SUPER TROOPERS
2-DF 50 HAZERS W/FANS 2-2 F-100’S UNIT’S 2-COLD FLOW UNIT’S
2-SETS OF (9) MOLL/LIGHTS
6-SHOGUNS
8 TO 10 LED STRIPS
LIGHTING CONSOLE INFO:
HOG II W/ROCK WING WITH 2-FLAT SCREEN MONITORS AND LIGHTING CONSOLE FOR CONVENTIONAL or GRAND MA
Though most artists has specific needs as are often listed in both their tech and hospitality riders, when working with multiple artist for the same event date(s) and location(s) please note that many of them have the needs for many of the same items. These items are easily recognized by the trained eye… So just hand the tech rider over to the sound company as soon as possible. Keep In mind that much like the engagement agreement it is potentially negotiable so is the hospitality rider… try vary hard to persuade the artists how necessary it would be to trim the cost of the rider as it may be also necessary to work on the cost of booking the artist. They must be reminded of the importance of the objective, which is to gain a profit for both parties while making it affordable for ticket buyers.
Knowledge Exam Pt. 2 Student Name_______________________________ Date __/____/____
Objective: Plan and execute a Concert Event (Successfully) meaning show a profit gain at the event’s conclusion. This is Phase One show only the total cost of this event.
Instructions: Here you are asked to create your event budget using Microsoft Excel (Spread Sheet) Format. Before you begin working in Excel please complete all required items in this form.
Scenario:
Your event is a follows; Genre __________ Artist(S) ____________ Venue______________________ Date____/____/_____ City____________ State____________ How many artist_______ Who’s the headliner______________ Ticket Agency______________ Additional outlets where tickets may be purchased_______________ Radio Station(S) how many will you use_________ which will you use as a co-pro station ____________ what other form of media will you be using 1._________ 2. _________ 3.__ _________ Name of Hotel. ___________________. How many sleeping rooms ________Venue’s capacity ______ Name of Sound company ____________ Name of Lighting company____________
Name of Insurance company______________________________ Type of Policy________________
Name of the additional insured _____________________ Dollar of amount of insurance $_________
Name of transportation company _______________________ how many vehicles will be used________
How many will you use on your staff ______________ Name of Security Agency ___________ in addition how many off duty police officers you are required to use __________ what will be the primary mode of transportation of the artist as they travel to designated city fro the event? 1 Airlines 2.Tour Bus
Name of the Travel Agency _______________________ How many airline ticket and what class will be purchased? ___________ How many first class? _______ Business class? _______ Coach Class? _______
What type of instruments and equipment that you are required to rent? __________________________
Will all or any of the artists be performing Live____ or via Track____? If so how any will be performing using such method? _______ Please explain:
Now using Microsoft Excel (Spread Sheet) incorporate the foregoing answers in excel itemizing and listing them by name separately as individual expenses. In the excel format you must item and list each task and expense associated with each of them.
Be aware of miscellaneous expenses such as complimentary tickets printing and box office fee etc. If you do your research with intent of actually putting on this event you will get a great deal of your questions answered.